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LIBRARY  OF 
WELLES  LEY  COLLEGE 


BEQUEST  OF 


ALICE  CHENEY  BALTZELL 


ir. 


a 


CHINES 


ELAIN 


CHINESE 


EORCEEAIN 


BY 

W.    G.    GULLAND 


WITH  NOTES  BY  T.  J.   LARKIN 


AND    FOUR   HUNDRED  AND   ELEVEN   ILLUSTRATIONS   ARRANGED 

CHRONOLOGICALLY 


VOL.    II. 


SECOND   EDITION 


LONDON:    CHAPMAN    &    HALL,    ld. 

1902 


Bequest  of 
Alice  Cheney  Baltzell 


r°[ 


03 


PREFACE. 


-*o*- 


In  the  present  instance  an  effort  has  been  made  to  place  the 
illustrations,  as  far  as  seems  possible,  in  chronological  order, 
so  as  to  try  and  give  a  comprehensive  view  of  the  various 
wares  and  styles  of  decoration  in  vogue  at  different  periods, 
but  the  attempt  must,  of  necessity,  be  somewhat  a  crude  one. 

This,  consequently,  involves  a  less  methodical  system  of 
arrangement  than  that  employed  in  the  first  volume,  where 
the  illustrations  are  grouped  into  classes ;  but  the  present  plan 
has  its  advantages  as  well  as  its  drawbacks,  and,  with  the 
particular  object  in  view,  it  is  hoped  the  former  will  be  found 
to  outweigh  the  latter,  while,  with  the  aid  of  the  index,  readers 
should  be  able  to  find  their  way  about. 

For  the  convenience  of  reference  the  numbering  of  the 
pages  and  illustrations  follow  on  those  of  Vol.  I.  Kegrettably 
it  is  difficult  to  avoid  a  work  of  this  kind  assuming,  more  or 
less,  the  nature  of  a  catalogue. 

Unfortunately,  to  sell  for  a  few  shillings,  it  is  impossible  to 
present  the  pieces  in  their  true  colours ;  nor  are  all  the  illus- 
trations what  they  might  be  even  in  black  and  white,  for, 
although  photography  best  preserves  the  touch  of  the  Chinese 
artist,  which  is  apt  to  be  lost  or  distorted  in  hand-made  copies, 
still  it  is  not  always  as  successful  as  could  be  desired.  This  is 
owing,  in  many  cases,  to  a  high  vitrescence  of  surface,  and  in 
others  to  the  colours  not  all  lending  themselves  equally  well 
to  the  process ;    while  many  people  very  naturally  object  to 


xxx  PREFACE. 

run  the  risk  of  allowing  their  ceramic  treasures  to  visit  a 
photographer's  studio,  when  the  illustrations  have  had  to  be 
taken  in  rooms  where  the  light  was  not  suitable.  This 
explanation,  it  is  hoped,  will  tend  to  disarm  criticism  which 
in  itself  no  doubt  would  be  just. 

The  attempt  to  squeeze  into  a  moderate  sized  handbook  a 
comprehensive  account  of  Chinese  porcelain  naturally  resulted 
in  the  crowding  out  of  much  that  is  interesting,  so  in  this 
volume  the  opportunity  has  been  availed  of  to  amplify  some 
points  that  received  but  cursory  notice  in  the  first. 

Of  late  years  sinologues  have  adopted  new  methods  of 
spelling  Chinese  names,  and  our  old  friends  Kang-he,  Keen- 
lung,  and  Kea-king  are  hardly  recognizable  as  K'ang  Hsi, 
Ch'ien  Lung,  and  Chia  Ch'ing,  but  not  being  a  Chinese 
scholar  the  writer  may  be  pardoned  in  thinking  that  for  the 
sake  of  continuity,  and  probably  the  convenience  of  the  reader, 
unless  where  quoting  from  writings  of  modern  sinologues,  it  is 
better  here,  as  in  the  first  volume,  to  adhere  to  the  style  of 
spelling  adopted  by  Sir  Wollaston  Franks. 

A  little  time  after  the  publication  of  that  volume  the 
writer  received,  from  Mr.  Thomas  Lindall  Winthrop,  the 
account  of  the  Trenchard  bowls  which  will  be  found  on 
p.  277.  Since  then  a  correspondence  more  or  less  regular  has 
resulted,  many  extracts  from  which  will  be  found  in  these 
pages,  adding  greatly  to  the  interest  thereof,  for  Mr.  Winthrop 
seems  for  years  to  have  studied  the  subject,  and  evidently 
examines  any  specimens  he  comes  across  with  the  trained  eye 
of  a  connoisseur.  In  kindly  giving  his  consent  to  these  letters 
being  made  use  of  in  this  volume,  Mr.  Winthrop  stated  that 
they  had  generally  been  written  in  a  hurry  and  with  no  idea 
of  their  ever  being  made  public.  The  reader  must  keep  in 
mind  that  Mr.  Winthrop  sometimes  wrote  from  the  Isle  of 
Wight  and  sometimes  from  Boston,  U.S.A. 

The  writer  has  been  equally  fortunate  in  securing  the  aid 
of  Mr.  Geo.  E.  Davies,  who  has  not  only  most  kindly  supplied 


PREFACE.  xxxi 

illustrations  from  his  own  charming  collection,  but  has  also 
obtained  photographs  of  some  of  the  many  interesting 
specimens  in  that  of  his  friend  Mr.  Richard  Bennett,  and  to 
both  these  o-entlemen  the  writer  would  now  be^  to  return  his 
most  hearty  thanks.  Mr.  Davies  is  acknowledged  to  be  one 
of  the  best  judges  of  Chinese  Porcelain,  for,  added  to  a  natural 
faculty  for  discriminating  in  such  matters,  he  possesses  an 
experience  extending  over  a  long  series  of  years,  during  which 
he  has  made  a  special  study  of  this  subject  both  at  home  and 
in  China.  His  remarks,  therefore,  on  the  various  pieces  from 
his  own  and  Mr.  Bennett's  collection,  are  a  most  valuable 
contribution  to  this  work,  and  one  that  the  reader  cannot  fail 
to  appreciate.  The  Davies  and  Bennett  collections  may  be 
said  to  be  classic  in  style,  having  been  formed  almost  entirely 
of  pieces  intended  for  home  use  in  China  and  imported  in 
great  part  direct  from  that  country,  while  nothing  but  the 
finest  quality  is  admitted  into  either.  They  are  exceptionally 
strong  in  self-coloured  pieces,  which  unfortunately  cannot 
receive  the  notice  they  deserve  in  this  volume,  as  without 
coloured  illustrations  it  would  be  useless  to  attempt  any 
description  thereof. 

To  Dr.  Edkins,  of  Shanghai,  the  writer  is  indebted  for  an 
article  on  Chinese  drawing,  from  which  the  reader  will  find 
quotations  given  here  and  there  in  the  following  pages.  And 
to  Mr.  C.  F.  Bell,  of  the  Ashmolean  Museum,  Oxford,  for  help 
with  regard  to  some  of  the  decorations  employed  by  the 
Chinese. 

AVhere  the  explanation  of  the  motive  is  merely  given  in 
inverted  commas  without  any  authority  being  stated,  the 
information  has  been  obtained  from  China  by  Miss  E.  M.  Lee, 
of  The  Church  of  England  Zenana  Mission,  who  kindly  sent 
the  photographs  to  Foochow,  her  particular  corner  in  the 
"  vineyard,"  where  they  were  submitted  to  one  of  the  Chinese 
literati,  and  the  clue  thus  obtained  could  generally  be 
followed  up   in   Mayers'    or    Professor   Giles'   works.    If  the 


xxxii  PREFACE. 

romanized  spelling  does  not  always  agree  with  either  of 
those  authorities,  the  difference  has  probably  arisen  owing 
to  the  local  dialect,  but  as  the  names  were  also  written  in 
the  Chinese  character  it  was  in  this  way  the  tales  have 
been  traced  in  the  works  of  the  above-named  authors. 

Mr.  Larkin  has  again  been  good  enough  to  go  through  the 
proofs,  and  as  there  is  nothing  like  practical  knowledge,  the 
writer  looks  upon  his  censorship  as  of  great  value.  He  has  also 
to  thank  Mr.  Chas.  E.  Faull  for  the  interest  he  has  so  kindly 
taken  in  collecting  pieces  suitable  for  illustration. 

In  conclusion,  it  may  be  as  well  to  add  that  this  volume 
has,  like  the  first,  been  compiled  during  leisure  hours,  and  is 
now  published  in  the  hope  that  it  may  prove  of  interest  and 
amusement  to  others. 

W.   G.   GULLAND. 


CONTENTS 


Preface 

Authorities 

Introduction 

Trenchard  Bowls 
Warham  Bowl 
Ching-tih,  1506-1522 
Kea-tsdsG,  1522-1567 

Blue  aDcl  white 

Biscuit  celadon     ... 
Lung-king,  1567-1573      ... 
Wan-leih,  1573-1620 

Five-coloured 
Teex-ke,  1620-1627 
Tsung-chtng,  1628-1644 

Ming  eggshell 
Symbols  on  Eobes  of  State 
Tsing  Dynasty 
Kang-he,  1661-1722 

Biscuit  celadon    ... 

Archaic  style 

Three-coloured    ... 

Famille  noire 

Aubergine 

Famille  verte,  blue  under  glaze 

Famille  verte,  blue  over  glaze 

Blue  and  white 

Blending  of  previous  styles 

Famille  verte,  early    ... 
Pere  le  Comte 
Foreign  influence 

Blue  and  white  with  stilt    ... 


)■> 


>? 


coffee  glaze 


TAGE 

...    xxix 

xxx  vii 

...     271 

277 

...     278 

279 

...     279 

...     279-281 

...     280 

281 

...     283 

284 

...     285 

285 

...     286 

286 

...     288 

288 

...     289 

289 

290,  303 

...    291,325 

...     291 

...   292,  295,  304,  345 

294,  304,  305,  329,  342,  346. 

350,  363,  366,  367,  369 

296,  314 

...  ...  ...  O'.'V  f 

301 

...  ...  ...       '"50  • 

321 

:;->4 
324 


XXXIV 


CONTENTS, 


Kang-he,  1661-1722  (continued) 
Blue  and  white  with  red     ... 


?> 

V 


J) 


green 


other  colours 


Soft  paste 
Trade  section 
Oorai  •  • .  ...  ... 

Powdered  blue     ... 
Celadon 

„         with  other  colours 
Green  upon  blue 
Peach  bloom 

„         ,,       with  blue 
Raised  figures 
Eggshell 
Birthday  plates    ...  ... 

X\iL/ot?  •••  •••  ••• 

Kakiyemon 
Yung-ching,  1723-1736    ... 

Arabesque 

Blue  and  white 

„  with  coloured  enamels 

,,  with  peach  bloom 

Peach-bloom  and  blue 

Black  and  coral 

_LtOot5  •  •  •  •  •  • 

„     bowels    ... 
Powdered  blue     ... 
Celadons 
Verte    ... 
Rose  verte    ... 
Keen-lung,  1736-1795 
Miniature  verte 
Fine  rose 
Mille  fleurs  ... 

„     cerf 
Celadon  reds 
Soft  paste 

with  enamels 

blue  and  white 


•■> 


5)  » 

Rose  verte    ... 
Chinese  drawing- 
Celadon 

Coloured  enamels 
Coral  and  blue 
Blue  and  white     ... 
Blue  and  white  with  copper-red 


367 


PAGE 

324,  359 
357 

...  372 
340 

...  347 
355 
356 

356,  358 

...  372 
359 

...  360 
362 

...  362 
373 
369 
372 
374 
379 
380 
384 
381 
386 
382 
382 
383 
389 
386 
391 
387 
392 
393 
395 
398 
402 
421 
403 
444 
448 
448 
405 
426 
427 
427 
42S 
479 
425 


387, 


40; 


CONTENTS. 


M 


?> 


55 


)1 


Eggs 


Keen-lung,  1736-1795  (continued) 
Blue  and  white  with  peach-bloom 
Yellow  enamel  with  blue    ... 
The  Twin  Sisters 

Xi/UoL*  •••  •••  ••• 

,,    whole-coloured   ... 
lotus 

„    with  blue  and  white  ... 
plates 
paeony  ... 
jshell 
„      semi- 
Mandarin 
Blue  enamel 
Fitzhugh  pattern ... 
Transfer  printing 
Blanc  de  Chine    ... 
Coloured  glazes 
Decorated  chietiy  in  red 
Dessert  plates 
Foreign  designs    ... 
Armorial 
Masonic 
Lowestoft 
Kea-kixg,  1796-1821 

Enamelled  porcelain    ... 
Mandarin 
Blue  and  white 
Chinese  Imari 
Celadon 
Reproductions 
Taou-kwaxg,  1821-1851  ... 
Enamelled  ware  ... 
Yung-ching  verte 
Canton  ware 
Rose 

Blue  and  white    ... 
Heen-fung,  1851-1862     ... 
Tung-che,  1862-1875 
Kwang-shiu,  1875 
Famille  verte 

i.  -N  J  )  1 J  A.      •••  •••  . .  •  * . . 


XXXV 

PAGB 

429 

•  •  • 

429 

•  ■  • 

430 

*  •  • 

432 

...  433 

,  141 

• .  • 

442 

•  •  • 

443 

•  •  • 

457 

•  •  • 

471 

• .  • 

433 

. . . 

444 

441 

,473 

.  ■  . 

443 

•  •  • 

449 

•  •  • 

451 

... 

453 

•  •  « 

455 

•  •  • 

459 

...  460 

,469 

•  •  • 

464 

•  •  • 

468 

•  •  • 

469 

•  ■  • 

470 

•  ■  • 

481 

•  .  • 

481 

.  .  . 

483 

•  .  . 

489 

... 

490 

491 

■  •  • 

492 

•  •  • 

493 

... 

493 

.  •  • 

494 

494 

496 

•  •  • 

495 

•  •  • 

496 

497 

497 

•  *  • 

498 

•  •  • 

49s 

•  •  • 

501 

AUTHORITIES 


In  addition  to  those  named  on  page  xiii.  the  following  have  been  employed  in 
the  present  volume  : — 

"  Oriental  Ceramic  Art."  By  S.  W.  Bushell,  M.D.  Illustrations  from 
the  collection  of  the  late  W.  T.  Walters  of  Baltimore,  U.S.  D.  Appleton  & 
Co.     New  York:  1897. 

"  La  Porcelaine  de  Chine  par  0  Du  Sartel."  Ve  A.  Morel  &  Co.  Paris  : 
1881. 

"Ancient  Porcelain  :  a  study  in  Chinese  Mediaeval  industry  and  trade.1' 
By  F.  Hirth,  Ph.D.     Kelly  and  Walsh,  Ltd.     Hong-kong  :  1888. 

"  Smithsonian  Institution,  United  States  National  Museum."  A  catalogue 
of  the  Hippisley  collection  of  Chinese  Porcelains,  with  a  sketch  of  the  history 
of  ceramic  art  in  China.  By  Alfred  E.  Hippisley.  Government  Printing 
Office.     Washington:  1890. 

"  History  and  Description  of  Chinese  Porcelain."  By  Cosmo  Monkhouse. 
Cassell&Co.     London:  1901. 

"  The  Metropolitan  Museum  of  Art."  Hand-book  of  a  collection  of 
Chinese  Porcelains.  Loaned  by  James  A.  Garland.  Compiled  by  John 
Getz.     New  York:  1895. 

"Journal  of  the  Peking  Oriental  Society."  Vol.  I.,  number  3.  Chinese 
Porcelain  before  the  present  dynasty.  By  S.  W.  Bushell,  M.D.  Peking. 
Pei-t'ang  Press,  1888. 

"A  Description  of  the  Empire  of  China,"  etc.,  etc.,  from  the  French  of 
P.  F.  B.  Du  Halde,  Jesuit.     Edward  Cave.     London:  1738. 

"  Nouveaux  Memoires  sur  l'etat  present  de  la  Chine  par  le  R.  P.  Louis  le 
Comte  de  la  compagnie  de  Jesus,  Mathematisien  du  Roy."  S.  L.  de  Lorme 
and  Est  Roger.     Amsterdam  :  1697. 

"Memoirs  of  Father  Ripa"  during  thirteen  years'  (1710-1723)  residence 
at  the  Court  of  Peking,  in  the  service  of  the  Emperor  of  China.  Selected  and 
translated  from  the  Italian  by  Fortunato  Prandi.  John  Murray.  London  : 
1844. 

"  A  Sketch  of  Chinese  History."  By  the  Rev.  Charles  GutzlafT.  Smith, 
Elder  &  Co.     London  :  1834. 


xxxviii  AUTHORITIES. 

"  A  Chinese  Biographical  Dictionary.11  By  Herbert  A.  Giles,  LL.D., 
Professor  of  Chinese  in  the  University  of  Cambridge.  Bernard  Quaritch. 
London:  1898. 

"  A  History  of  Chinese  Literature.1'  By  Herbert  A.  Giles,  M.A.,  LL.D. 
William  Heinemann.     London  :  1901. 

"  The  Dragon,  Image,  and  Demon."  By  the  Rev.  Hampden  C.  Du  Bose. 
S.  W.  Partridge  &  Co.     London  :  1886. 

"  A  String  of  Chinese  Peach-stones.'1  By  W.  Arthur  Cornaby.  Chas. 
H.  Kelly.     London  :  1895. 


CHINESE    PORCELAIN. 


-*o*- 


INTKODUCTIOK 

In  tins,  as  in  the  first  volume,  no  attempt  will  be  made  to 
penetrate  into  the  past  beyond  the  Ming  period.  Content- 
ing ourselves  with  the  Chinese  porcelain  to  be  found  here  in 
England,  the  commencement,  to  be  sure  of  the  date  and  so 
start  on  firm  ground,  must  of  necessity  be  with  the  historic 
Trenchard  and  Warham  bowls — that  is,  1506  (see  p.  xix.);  but 
even  thus  restricting  ourselves,  there  is  a  long  road  of  some 
four  hundred  years  to  travel  down  to  the  present  time.  Fol- 
lowing the  Chinese  method,  we  find  this  period  divided  between 
two  dynasties  (roughly  speaking,  one  hundred  and  forty  years 
belonging  to  the  Ming  and  two  hundred  and  sixty  to  the 
Tsing),  which  are  again  subdivided  into  reigns — some  long 
and  some  short;  but  these  we  must  adopt  as  the  measure 
of  our  whereabouts,  taking  the  nien-hao,  when  existent  and 
seemingly  reliable,  as  a  guide  in  the  chronological  arrange- 
ment of  our  china.  Beyond  these  date-marks  we  are  very 
much  at  the  mercy  of  the  somewhat  hazy  records  of  Chinese 
historians  and  the  information  collected  by  the  worthy  Jesuit 
fathers,  which,  notwithstanding  all  their  care,  does  not  seem 
to  have  been  always  exactly  correct ;  so  that  of  necessity, 
when  not  helped  by  family  history,  we  must  trust  in  great 
measure  to  our  eyesight,  seeking  for  guidance  in  any  change 
we  may  find  in  the  quality  of  the  porcelain  or  glaze,  in  the 
shapes  of  the  various  vessels,  in  the  style  of  decoration,  or 
colour  of  the  pigments  employed,  with  any  other  such  aid  we 
can  avail  ourselves  of. 

Genuine  date-marks  are  comparatively  few  and  far  between, 

TOL.  II.  b 


272  INTRODUCTION. 

therefore  we  will  find  it  impossible  to  allot  every  piece  to  a 
particular  reign,  or  even  dynasty,  as,  of  course,  the  changes  did 
not  always  take  place  at  the  end  of  a  reign,  and  of  necessity 
there  is  a  borderland,  as  it  were,  between  each  period,  when  it 
is  very  difficult  to  say  to  which  particular  era  certain  specimens 
belong. 

The  Ming  pieces  Ave  shall  find  poor  in  quality,  shape, 
and  colouring,  as  compared  with  the  Tsing,  and  beyond  a 
few  nien-hao  we  have  little  to  guide  us  in  marking  out  the 
porcelain  of  one  Ming  reign  from  that  of  another.  The 
Jesuit  fathers  do  not  help  with  regard  to  Ming  wares. 
Chinese  writers  seem  to  give  fairly  detailed  accounts  of  the 
production  of  the  various  Ming  periods,  according  to  some 
much  greater  praise  than  to  others ;  but  Ming  pieces  are 
now  comparatively  few  in  number,  and  it  is  difficult  to  carry 
out  any  general  classification  or  to  verify  the  statements  of 
these  native  writers.  The  specimens  we  have  here  in  England 
may  not  do  full  justice  to  the  Ming  period,  but  even  compared 
with  inferior  wares  of  the  Tsing,  they  show  a  crudeness  that 
must  have  run  through  the  whole  series  ;  and  no  doubt  the  best 
Tsing  pieces  are  as  far  ahead  of  the  best  Ming  as  the  inferior 
of  the  former  are  superior  to  the  same  quality  of  the  latter. 

In  the  sixteenth  century  porcelain  was  so  highly  esteemed 
in  Europe  that  many  pieces  were  mounted  in  silver,  and  it  is 
reasonable  to  suppose  that  the  best  specimens  were  selected 
for  this  honour.  Now,  except,  perhaps,  where  historical  value 
attaches,  as  in  the  case  of  the  Trenchard  and  Warham  bowls, 
the  mountings,  as  samples  of  early  silver  work,  are  of  more 
value  than  the  china  they  were  originally  designed  to  protect 
and  ornament.  The  reason  for  this  being  that  much  finer 
porcelain  has  since  come  to  hand ;  while  to  give  value,  artistic 
merit  is  necessary,  as  well  as  mere  antiquity ;  and  in  the 
former  qualification  the  Ming  productions  have  been  greatly 
distanced  by  the  Tsing. 

During  the  interregnum  which  took  place  at  the  end  of 
the  Ming  and  beginning  of  the  Tsing  dynasties,  the  Imperial 
manufactories  at  King-te-chin  seem  to  have  been  closed,  but 
with  the  coming  to  the  throne  of  Kang-he 18  (16G1-1722)  the 

18  There  are  two  ways  of  pronouncing  Kang-he,  as  there  are  of  Keen-lung, 
in  North  China  one  way,  and  South  China  another — Kang-shee  and  Kang-hee, 
Cheen-Iung  and  Keen-Jung. — T.  J.  L. 


INTRODUCTION.  27 


1 


ceramic  industry  received  fresh  vigour,  although,  no  doubt,  it 
took  some  years  to  arrive  at  that  standard  of  excellence  for 
which  this  period  is  noted.  It  is  chiefly  celebrated  for  the 
flue  quality  of  its  "blue  and  white'1  and  "famille  verte," 
which  latter  belongs  almost  exclusively  thereto ;  while,  in 
addition  to  "powdered  blue'1  and  the  "famille  noire,"  great 
attention  was  paid  to  the  covering  of  porcelain  with  various 
coloured  glazes,  those  known  as  "sang  de  boeuf "  and  "peach 
bloom  "  being  discovered  towards  the  end  of  this  reign.  Great 
improvements  were  made  in  all  descriptions  of  porcelain,  and 
we  are  told  that  up  to  the  last  one  success  followed  another  at 
King-te-chin,  so  that  the  later  productions  are  in  every  way 
superior  to  the  early. 

Sixty  years  of  progress  had  not  exhausted  the  upward 
movement,  and  perhaps  in  some  ways  the  finest  china  belongs 
to  the  Yung-ching  period  (1723-1736),  many  of  the  pieces 
showing  a  very  high  technique,  while,  perhaps  owing  to  the 
introduction  of  the  rose  shades  more  than  anything  else,  the 
style  of  decoration  underwent  an  entire  change,  and  continued 
on  somewhat  similar  lines  during  the  reign  of  Keen-lung, 
so  that  these  two  periods  (1723-1796)  are  generally  classed 
together,  and  spoken  of  as  the  "  rose  period."  In  addition  to 
the  advent  of  the  rose  tints,  the  Yung-ching  period  is  a  most 
interesting  one ;  new  graceful  shapes  appear  for  the  first  time, 
as  well  as  new  colours — in  fact,  fine  workmanship  and  delicate 
colouring  may  be  said  to  be  the  characteristics  of  this  reign. 
The  centre  one  of  the  three  noted19  periods,  covering  from  1661 
to  1796,  it  falls  in  the  middle  of  the  great  era  of  Chinese 
ceramic  art,  which  lasted  for  some  hundred  and  thirty  odd 
years,  during  which  time  most  of  the  fine  china  we  possess  was 
made,  and  the  nearer  it  comes  to  the  Yung-ching  period  the 
better  the  quality.  At  p.  418  Mr.  Hippisley  says  :  "  During  the 
seventy-five  years  between  1698  and  1773 — comprising  roughly 
the  latter  half  of  K'ang-hsi's  reign,  the  whole  of  Yung-cheng's, 
and  rather  more  than  half  that  of  Chien-lung — the  manufac- 
ture and  decoration  of  porcelain  in  China  attained  a  degree 

10  These  three  noted  periods  of  Chinese  ceramic  art,  it  is  interesting  to 
observe,  coincide  with,  and  are  covered  by,  the  periods  of  French  art  popular 
with  art  lovers  of  to-day,  viz.  Louis  XIV.,  the  Regency,  Louis  XV., 
Louis  XVI.  and  the  Directoire. — T.  J.  L. 


274  INTRODUCTION. 

of  excellence  which,  in  my  opinion,  has  never  been  reached 
either  before  or  since." 

The  third  of  these  great  periods,  the  Keen-lung,  like  the 
first,  lasted  for  sixty  years  (1736-1795),  and  the  falling  off  in 
the  quality  as  time  went  on  may  probably  be  attributed  to 
the  increased  demand  for  Europe,  trade  necessities  calling  for 
cheapness  and  quantity  regardless  of  quality.  The  orders 
poured  in,  and  had  to  be  executed  as  best  they  could,  with 
the  result  that  much  of  what  was  shipped  to  the  west  for 
everyday  use  is  now  valueless.  Canton  was  then  the  chief  centre 
of  trade  with  foreign  countries,  and,  not  possessed  of  a  manu- 
factory of  its  own,  white  porcelain  was  sent  from  many  parts  of 
China,  there  to  be  decorated,  under  the  eye,  as  it  were,  of  the 
European  merchant,  who,  like  the  Chinese  through  whom  he 
had  to  deal,  no  doubt  looked  mainly  to  profit,  and  a  cheap 
article  was  needed  to  compete  with  European  productions. 
Canton,  however,  has  long  been  celebrated  for  its  wealth,  and 
many  of  the  Chinese  arts,  such  as  silk-weaviug,  embroidery, 
painting,  carving  in  wood,  jade,  etc.,  have  from  early  times 
found  a  home  there,  while  the  clever  workmen  who  have 
resided  within  its  walls,  generation  after  generation,  have  made 
its  products  famous  all  the  wTorld  over.  At  no  period,  perhaps, 
was  this  more  the  case  than  during  the  reign  of  Keen-lung, 
and  some  of  the  china  decorated  at  Canton  during  this  and 
the  following  reigns  often  exhibits  great  skill  and  consider- 
able artistic  merit.  That  known  as  "  Canton  blue  and  white," 
of  course,  being  the  product  of  the  grand  feu,  must  have 
been  decorated  at  the  porcelain  manufactory,  and  merely  took 
its  name  from  the  port  at  which  it  was  shipped. 

The  reader  may  wonder  why  we  hear  so  much  of  King-te- 
chin  and  so  little  of  the  other  manufactories,  but  this  is  due 
to  its  having  been  by  far  and  away  the  principal  seat  of  the 
industry  and  the  source  of  the  best  quality,  also  to  the  two 
facts  that  the  Imperial  manufactory  wfas  situated  there,  and 
that  Pere  d'Entrecolles  resided  at  King-te-chin,  so  that  we 
have  in  the  Government  records  of  the  manufactory  and  in 
the  celebrated  letters  of  the  worthy  father  a  fund  of  information 
that  does  not  exist  in  the  case  of  the  other  places  where 
porcelain  was  made.  Writing  towards  the  end  of  the  reign 
of  Kaug-he,  Pere  d'Entrecolles  says,  "  The  fine  China-ware, 


INTRODUCTION.  275 

which  is  of  a  shining  white  and  a  clear  sky-blue,  comes  all  from 
King-te-ching.  It  is  made  in  other  places,  but  it  is  of  a  quite 
different  colour  and  fineness.  In  short  (not  to  speak  of  the 
other  sort  of  earthenware  made  all  over  China,  but  to  which 
they  never  give  the  name  of  porcelain),  there  are  some  pro- 
vinces, as  those  of  Kan-ton  (Canton)  and  Fo-kyen,  where  they 
make  porcelain ;  but  strangers  cannot  be  deceived  therein,  for 
that  of  Fo-kyen  is  as  white  as  snow,  but  has  no  gloss,  and  is 
not  painted  with  various  colours.  The  workmen  of  King-te- 
ching  formerly  carried  thither  all  their  materials,  in  hopes  of 
being  considerable  gainers,  by  reason  of  the  great  trade  then 
driven  by  the  Europeans  at  A-mwi  (Amoy),  but  they  lost  their 
labour,  for  they  could  never  make  it  there  with  success.  The 
Emperor  Kang-hi,  who  desired  to  know  everything,  caused  work- 
men in  porcelain  to  be  brought  to  Peking,  and  everything  proper 
for  the  manufacture.  They  did  their  utmost  to  succeed,  being 
under  the  Prince's  eye,  and  yet  we  are  assured  that  their  work 
failed.  It  is  possible  the  reasons  of  interest  and  policy  had  a 
hand  in  the  miscarriage ;  but  however  that  be,  King-te-ching 
alone  has  the  honour  of  supplying  all  parts  of  the  world  with 
porcelain  ;  even  the  Japanese  come  to  China  for  it." 

This  may  very  well  represent  correctly  the  state  of  affairs 
during  the  Kang-he  period,  but  there  seems  no  doubt  that 
later  on  other  manufactories  worked  up  more  to  the  King-te- 
chin  level  of  quality,  and  towards  the  end  of  the  Keen-lung 
period  were  able  to  supply  porcelain  suitable  to  the  require- 
ments of  European  traders. 

It  is  known  that  quantities  of  the  china  decorated  at  Canton 
were  received  from  King-te-chin,*  and  in  the  liner  qualities 
it  is  entirely  bv  means  of  the  stvle  of  decoration  that  we  have 
to  try  and  discriminate  between  that  painted  in  the  north  and 
at  Canton,  while  much  of  the  china  made  and  decorated  at 
King-te-chin  was  shipped  from  Canton,  which  further  tends 
to  complicate  the  matter.  There  seems  to  have  been  on 
the  part  of  the  Cantonese  a  tendency  to  over-decorate,  and 
the  pieces  we  can  recognize  for  the  most  part  belong  to  the 
enamelled  class,  the  surface  being  generally  almost  entirely 
covered.  As  we  go  on,  an  effort  will  be  made  to  point  out  the 
few  pieces  contained  in  this  series  that  appear  to  have  been 

*  "  Ancient  Chinese  Porcelain,"  p.  42. 


276  INTRODUCTION. 

painted  in  the  south.  Coming  to  the  common  or  trade  section, 
we  have  the  large  vases,  such  as  are  to  be  seen  in  the  windows 
of  tea-dealers,  dinner  services,  tea  sets,  bedroom  sets,  etc.,  made 
of  a  coarse  greenish  porcelain,  and  decorated  with  flowers  and 
butterflies  in  gaudy  colours,  imported  before  and  during  the 
first  half  or  more  of  the  nineteenth  century  ;  in  these  are 
exhibited  the  everyday  work  of  Canton  for  more  than  a  hundred 
years  back.  Although  the  principal,  this  is  not  the  only  type 
for  which  Canton  was  noted.  The  light-coloured  blue  and 
white,  where  the  blue  is  put  on  in  thin  washes  of  indifferent 
shade,  which  belongs  to  the  end  of  the  eighteenth  and  begin- 
ning of  the  nineteenth  century,  is  known  as  "  Canton  blue  and 
white,"  because  it  was  shipped  from  that  port;  but  where  it 
was  really  manufactured  and  decorated  it  is  difficult  to  say, 
probably  at  Shaou-king  Foo,  to  the  west  of  Canton.  "  Abbe 
liaynal,  in  1774,  mentions  this  factory,  and  states  that  the 
porcelain  known  in  France  under  the  name  of  l  porcelaine 
des  Indes'  was  made  there.  It  is  probably,  therefore,  from 
these  two  factories  (King-te-chin  and  Shaou-king  Foo),  and 
especially  from  the  latter,  that  proceeded  the  numerous  services 
for  dinner  and  tea,  differing  altogether  from  the  appliances 
of  the  same  kind  used  in  China '  (Franks,  p.  92).  In  this 
Indian  china  or  trade  section,  it  is  often  very  difficult  to  say 
whether  a  given  piece  was  made  and  decorated  in  the  north 
or  the  south. 

With  regard  to  the  porcelain  made  and  decorated  at  King- 
te-chin,  it  is  usually  considered  that  the  pieces  properly 
marked  with  nien-hao  were  issued  by  the  Imperial  factory, 
but  whether  the  unmarked  came  from  private  kilns  or  not 
there  seems  nothing  to  show;  be  that  as  it  may,  beyond  all 
doubt  some  of  the  finest  specimens  to  be  met  with  are  un- 
marked. It  would  appear  reasonable  to  suppose  that  at  the 
Imperial  works  none  other  than  the  name  of  the  reigning 
emperor  would  be  allowed  to  be  used,  in  which  case  the  pieces 
with  the  false  Ming  nien-hao  must  be  the  produce  of  private 
manufactories ;  but  in  China  you  can  never  be  sure  of  anything. 
Nearly  all  the  fine  china  we  possess  seems  to  have  been  made 
and  decorated  at  King-te-chin  or  its  neighbourhood,  and  it  is 
not  until  the  mandarin  period  that  we  hear  any  doubts  as  to 
the  decoration  perhaps  being  Cantonese. 


486. 


487. 


[To  face  p.  277. 


TRENCHARD   BOWLS.  277 


Trenchard  Bowls. 


Starting  with  the  Trenchard  bowls,  Nos.  486,  487,  probably 
means  commencing  with  the  Himg-che  (1488-1506)  period,  or 
as  near  as  can  be  the  middle  of  the  Ming  dynasty,  although 
it  is,  of  course,  just  possible  these  bowls  may  belong  to  the 
celebrated  Ching-hwa  (1465-1488)  period,  so  famous,  according 
to  Chinese  writers,  for  the  drawing  of  its  decorations  and  the 
coloured  enamels  employed ;  the  blue  and  white,  however,  not 
being  considered  as  good  as  that  of  the  Seuen-tih  (1426-1436) 
period.  The  Hung-che  period  seems  to  have  been  more  noted 
among  the  Chinese  for  a  yellow  ware,  as  also  coloured  enamels, 
little  or  no  mention  being  made  of  blue  and  white,  which  is 
the  class  the  Trenchard  bowls  belong  to,  as  will  be  seen 
from  the  following  description  of  them,  kindly  supplied  by 
Mr.  Winthrop : — 

"About  twenty-seven  years  ago,  provided  with  an  intro- 
duction from  my  old  friend,  Colonel  Pickard,  V.C.,  I  made 
an  expedition  to  Weymouth  for  the  purpose  of  seeing  the 
Oriental  bowls  referred  to  on  p.  xix.  of  your  work,  which  are, 
undoubtedly,  the  earliest  known  pieces  of  Chinese  porcelain 
brought  into  England,  since  Bishop  Warham's  bowl  at  New 
College,  Oxford,  may  have  been  given  any  time  between  1504 
and  1532,  while  the  Trenchard  bowls  are  fixed  at  1506.  Mr. 
Trenchard,  of  Greenhill  House,  a  descendant  of  Sir  Thomas 
Trenchard,  of  Wolverton  Castle,  Dorset,  to  whom  they  were 
given  by  Phillip  of  Austria,  King  of  Castille,  was  then  the 
possessor  of  these  bowls,  and  he  kindly  placed  them  at  my 
disposal  for  inspection.  I  found  them  to  consist  of  a  pair  of 
7  or  8  inch  bowls  of  ordinary  shape,  similarly  decorated  with 
(in  blue  under  the  glaze)  lightly  sketched  flowers  at  intervals, 
connected  by  a  meander  of  stem,  with  no  other  ornament, 
unless  it  may  have  been  a  simple  line.  Inside,  I  think,  there 
were  fish.  The  porcelain  was  rather  greyish,  and  not  of  fine 
quality.  One  of  the  bowls  bore  this  decoration  very  distinctly 
traced  in  blackish  cobalt  (the  flowers,  perhaps,  intended  for 
asters),  while  the  other  bowl  had  a  very  washed-out  and  faded 
appearance.  The  better  bowl  of  the  two  was  enclosed  in  a 
handsome  silver-gilt  mount  of  strap-work  in  the  Renaissance 
style  common  in  those  days,  with  nothing  Moresco  about  it. 


2-8  WARHAM    BOWL. 

I  believed  the  mount  to  be  foreign,  and  found  no  hall-mark 
visible ;  but,  with  Mr.  Trenchard's  permission,  I  took  off  the 
mount,  by  removing  sundry  pins  or  movable  rivets,  and  found 
the  metal  bearing  London  hall-marks  inside,  of  a  date  quite 
forty  years  later  than  King  Phillip's  visit  to  Weymouth.  The 
mounts  were  therefore  added  bv  some  one  of  the  Trenchard 
family  to  do  honour  to  a  royal  gift. 

"  Colonel  Cambridge,  of  Bloxworth  House,  Dorset,  is,  I  have 
every  reason  to  believe,  the  present  owner  of  these  bowls,  he 
being  a  nephew  of  3Ir.  Trenchard,  of  Greenhill  House,  where 
I  saw  them." 

Colonel  Jocelvn  Pickard  Cambridge  died  in  October, 
1900,  and  the  bowls  are  now  the  property  of  his  only  child, 
3Irs.  Frederick  Lane,  who  has  most  kindly  supplied  the  here- 
with illustration. 

Warham  Bowl. 

The  writer  would  beg  to  express  his  thanks  to  Dr.  Sewell, 
Warden  of  New  College,  Oxford,  for  so  kindly  supplying  the 
herewith  illustration  (No.  488)  of  this  very  interesting  little 
bowl.  That  gentleman  writes :  "  The  size  is  small,  about 
5  inches  in  diameter  at  the  top  and  about  3  inches  at  the 
bottom,  and  about  the  same  in  depth.  The  value  attached  to 
it  is  shown  in  the  silver-gilt  setting."  The  bowl  itself  is 
celadon  in  both  senses  of  the  word  (see  p.  138),  and,  as  stated 
on  p.  xix.,  was  presented  to  New  College  by  Archbishop 
Warham  between  the  years  1504  and  1532;  so  whether  this 
or  the  Trenchard  bowls  are  the  oldest  is  a  matter  of  opinion 
and,  fortunately?  one  of  no  consequence.  In  the  early  part  of 
the  sixteenth  century  these  bowls  were  very  rare  and  much 
prized  ;  in  fact,  if  we  are  to  judge  by  the  name  celadon,  it  was 
not  until  the  next  century  that  they  became  generally  known, 
for  it  was  in  1612  that  Honore  d'Urfe  brought  out  his  great 
pastoral  romance,  "L'Astree,"  and  for  a  long  time  thereafter  no 
novel  or  play  in  France  was  complete  without  its  love-sick 
shepherd.  These  interesting  individuals,  as  represented  on 
the  stage,  were  dressed  in  blue -green  greys,  which  shades 
of  colour  were  called  celadon,  after  the  hero  of  the  above- 
named  well-known  work.  This,  of  course,  gives  no  clue  as  to 
when  celadon  ware  was   first   introduced  into  France,  but  it 


QO 


£ 


00 

GO 


OS 

Si- 
's 


OS 


CI 

go 


MING.  2/9 

seems  pretty  clear  that  it  was  not  received  in  quantity  and 
generally  known  much  before  the  middle  of  the  seventeenth 
century. 


CHING-TIH,  1506-1522. 

The  Warham  bowl  may  belong  to  this,  an  earlier,  or  to  the 
following  period;  we  have  nothing  to  guide  us  in  deciding, 
unless  the  silver  mounting  is  "hall-marked,"  so  as  to  give 
some  more  exact  date  than  the  twenty-eight  years'  margin 
that  we  seem  at  present  to  have  to  be  content  with  as  to  its 
coming  into  the  possession  of  New  College.  According  to 
Chinese  writers,  during  this  period,  through  the  good  offices 
of  the  governor  of  the  inland  province  of  Yun-nan,  a  superior 
blue,  known  to  the  Chinese  as  "  Mohammedan,"  was  obtained, 
but  cost  twice  its  weight  in  gold,  this  once  more  brought 
blue  and  white  porcelain  into  favour.  It  is  also  stated  that 
during  this  reign  a  better  red  was  produced  than  at  any  earlier 
date,  probably  from  a  silicate  of  copper.  The  yellow  glaze 
referred  to  in  the  last  reign  seems  still  to  have  been  in  favour, 
and  appears  to  have  been  used  over  designs  made  on  the  paste. 


KEA-TSING,  1522-1567. 

Accokding  to  Chinese  writers,  this  period  is  chiefly  noted 
for  its  blue  and  white,  while  cups  made  in  imitation  of  white 
jade  are  said  to  have  been  lighter  in  colour  than  any  before 
produced. 

No.  489.  A  gourd-shaped  bottle.  Height,  8  inches.  Glazed 
base,  with  the  Kea-tsing  mark  in  two  blue  rings,  seemingly  a 
genuine  example  of  the  blue  and  white  of  this  reign ;  but  at 
a  later  date,  probably  during  the  Kang-he  period,  it  has  been 
redecorated,  red  flowers  being  added  to  the  original  blue  under 
the  glaze,  while  the  white  porcelain  has  been  covered  with  a 
transparent  yellow  glaze.  As  we  go  on  we  shall  come  across 
many  examples  of  old  pieces  redecorated  in  modern  colours. 
The  reader  has  here  the  opportunity  of  making  acquaintance 
VOL.  II.  b  2 


28o  MING. 

with  what  may  be  taken  to  be  the  well-made  distinct  characters 
of  the  Imperial  factory  system  of  marking.  As  time  goes  on 
these  may  be  less  heavily  traced ;  but  there  is  every  reason  to 
believe  that  the  nien-hao  were  always,  as  we  shall  see,  clearly 
and  carefully  made,  while  the  badly  written  ones  probably 
emanated  from  private  factories,  although  the  china  on  which 
the  same  appear  is  often  of  the  best  quality  in  all  respects. 

No.  490.  Jar,  with  cover.  Height,  11  inches.  Glazed  base, 
with  Kea-tsing  mark,  without  the  blue  rings.  This  piece  is 
coated  with  a  dull  red  enamel,  and  ornamented  with  yellow 
five-claw  dragons,  these  being  the  only  two  colours  employed. 
The  drawing  is  fairly  good,  but  the  colours  are  not  at  all 
vitreous,  and  it  might  be  a  wooden  jar  decorated  with  oil 
colours,  for  as  yet  they  could  only  paint  in  polychrome  on 
biscuit,  the  art  of  doing  so  over  the  glaze  not  yet  having  been 
discovered. 

No.  491.  A  six-lobed,  conical-shaped  jar.  Height,  15J  inches  ; 
diameter  at  top,  8 h  inches.  With  unglazed  base,  except  a  cir- 
cular plaque  of  white  glaze  in  the  centre,  on  which  the  mark, 
"Kea-tsing,"  1522-1567,  appears  in  blue;  but  this,  unfortu- 
nately, has  been  omitted  to  be  photographed.  The  decoration 
consists  of  six  dragons,  green,  red,  and  yellow,  alternating  in  six 
circular  medallions,  the  rest  of  the  surface  being  covered  with 
lotus  scroll-work  ;  the  predominant  colours  are  red  and  yellow, 
with  but  little  green,  these  are  not  vitreous  enamels.  The  sweet 
flags  top  and  bottom  are  in  green  and  yellow,  with  red  tips 
between ;  the  ornamental  band  at  bottom  merely  consists  of 
brown  designs  on  the  white  ground.  This  piece  appears  to  be 
correctly  marked,  and  the  colours  are  in  the  same  dull  pig- 
ments that  seem  to  have  been  in  use  about  this  time.  There 
is  none  of  that  brilliancy  in  the  porcelain  itself,  or  in  the 
colours  it  is  decorated  with,  that  we  find  in  the  Kang-he 
productions.  3Fr.  Hippisley,  at  p.  398,  says :  "  I  can  find 
nothing  in  the  works  of  Chinese  writers  on  this  subject  to 
justify  the  concession  of  a  greater  antiquity  than  the  early 
part  of  the  Ming  dynasty,  i.e.  the  first  half  of  the  fifteenth 
century,  to  the  ornamentation  of  vases  with  arabesques  and 
scroll-work,  with  landscapes,  historical  scenes,  or  genre  paint- 
ings in  several  colours." 

The   reader   must   remember   that   the   products    of    this 


491. 


[To  face  p.  280. 


492. 


[To  face  p.  281. 


MING.  281 

dynasty,  not  being  so  highly  glazed  as  in  the  next,  show  up 
better  in  the  photographs,  and  are  thus  seen  to  greater  advan- 
tage than  in  reality  is  warranted  by  the  quality  of  the  pieces. 

Kea-tsing  Blue  and  White. 

Thanks  to  Mr.  Burman,  who  acquired  this  piece  in  Shanghai, 
we  have  in  No.  492  an  excellent  example  of  the  blue  and  white 
of  this  peried.  If  not  so  highly  glazed  as  in  the  next  dynasty, 
the  colour  of  the  paste  is  good,  as  also  the  blue,  while  there  is 
little  to  find  fault  with  in  the  drawing.  This  jar  (height, 
20  inches)  shows  that  they  were  then  capable  of  turning  out 
large  pieces,  as  stated  by  Chinese  writers,  for  there  seems  no 
reason  to  doubt  the  genuineness  of  the  mark  as  seen  on  the 
neck.  The  decoration  consists  of  five-claw  dragons  in  the 
midst  of  a  lotus  scroll-work,  while  the  character  which 
the  reader  will  notice  in  the  middle  of  the  pattern  seems  to 
indicate  that  it  was  made  for  one  of  the  Mohammedan  markets, 
most  probably  Persia,  where  they  do  not  appear  to  have  been 
so  strict  as  to  object  to  decoration  of  this  sort.  The  base  of 
this  piece  is  unglazed. 

At  p.  7 1  Mr.  Monkhouse  says  :  "  The  peculiar  soft  but  rich 
quality  of  the  i  Mohammedan '  blue,  as  it  was  called,  and  the 
boldness  of  the  decoration,  are  perhaps  its  most  delightful 
qualities."  And  in  the  Burlington  Fine  Art  Catalogue,  p.  xvii. : 
"  Powerful  as  the  colour  is,  and  never  flat  or  dead,  we  miss 
that  charm  of  modulation,  the  delight  in  gradation,  and  the 
palpitating  quality  of  colour  which  we  find  in  later  work." 
This  is  to  a  great  extent  correct,  but  as  the  same  author  states, 
at  p.  91 :  "  Certainly  during  the  later  part  of  the  Ming  dynasty 
at  least  two  tints  were  used  on  the  same  piece." 


LUNG-KING,  1567-1573. 

This  short  reign  seems  to  be  included  along  with  the  fol- 
lowing period  by  Chinese  writers,  so  probably  its  productions 
exhibited  no  special  feature.  In  Europe  there  seems  to  be 
only  one  instance  recorded  of  the  mark  having  been  met  with. 
In  the  Journal  of  the  Peking  Oriental  Society,  p.  99,  Dr.  Bushell, 


282  MING. 

writing  of  the  previous,  this,  and  the  following  reigns,  tells  us 
"  The  Imperial  potteries  were  still  at  Ching  te  Chen,  and  it 
was  the  practice  to  appoint  eunuchs  to  superintend  the  manu- 
facture and  bring  up  the  porcelain  to  Peking.  They  took  with 
them  the  Imperial  order  for  the  quantity  required  to  such  an 
extravagant  amount  that  several  pages  of  the  Chiang-hsi  f  ung 
Chili,  which  gives  the  statistics  of  the  province,  are  filled  with 
the  remonstrances  of  censors  on  the  subject.  According  to  one 
of  these,  in  1571  no  less  than  105,770  pairs  of  things  were 
ordered,  including  bowls,  tea-cups,  wine-cups,  and  vases  of 
bright  red  colour  inside  and  out,  large  and  small  dragon- 
painted  bowls  for  fish,  and  boxes  of  rectangular  form.  It  was 
ordered  to  be  sent  to  the  capital  in  batches ;  the  first  lot  of 
10,597  pairs  by  the  ninth  month  of  the  same  year,  the  second 
of  10,750  before  the  twelfth  month,  the  remainder  in  eight 
successive  lots.  The  censor  explains  the  difficult  production 
of  the  large  dragon  fish-bowls,  which  were  to  be  decorated  with 
ornaments  in  relief,  and  to  have  broad  bases  and  bulging 
bodies  ;  the  great  expense  of  the  large  fish-bowls  to  be  painted 
in  enamel  colours,  and  the  fear  of  their  being  broken  in  the 
kiln ;  the  too  elaborate  designs  for  the  square  boxes  in  three 
tiers,  which  would  require  almost  a  lifetime  to  turn  out.  He 
consequently  begs  for  the  substitution  of  fan  hung,  peroxide 
of  iron  red,  prepared  by  incinerating  green  vitriol,  for  hsien 
hung,  silicate  of  copper  red,  the  diminution  of  the  other  things 
referred  to  by  one  or  two  tenths,  in  order  not  to  distress  the 
people,  who  were  expected,  it  appears,  to  supply  the  labour 
and  most  of  the  materials,  with  little  or  no  payment."  Page 
101  :  "  The  lists  of  the  things  requisitioned  by  these  three 
Emperors"  (1522  to  1619)  "are  still  extant,  and  are  of  some 
interest  as  showing  the  style  of  decoration,  most  of  the  subjects 
being  employed  in  ornamenting  the  Imperial  porcelain  down 
to  the  present  day.  The  designs  are  said  to  have  been  prin- 
cipally derived  from  brocaded  satin  and  ancient  embroidery." 


MING.  283 


WAN-LEIH,  1573-1620. 

If  we  are  to  believe  Chinese  historians,  decadence  set  in 
during  this  reign.  They  admit,  however,  that  the  workman- 
ship was  at  times  good,  and  that  the  porcelain  decorated  with 
enamel  colours  showed  improvement,  and  Dr.  Bushell,  at  p. 
107  of  the  Walters  book,  tells  us,  "  that  previous  to  this  reign 
painting  on  glaze  was  not  known,"  so  we  must  credit  it  with 
that  discovery.  As  far  as  we  can  judge  from  the  specimens 
to  be  met  with,  the  polychrome  pieces  certainly  show  an 
advance,  the  appearance  of  the  porcelain  and  the  colours 
with  which  it  is  decorated  both  being  more  vitreous,  showing 
a  nearer  approach  towards  the  famille  verte  of  the  next 
dynasty.  It  is  said  that  the  requirements  of  the  palace  were 
so  great  that  inferior  ware  had  to  be  supplied  to  admit  of  any- 
thing like  the  quantity  ordered  being  delivered.  The  same 
author,  in  the  Journal  of  the  Peking  Oriental  Society,  p. 
100,  writes  :  "  In  the  next  reign,  Wan-li,  in  the  eleventh  year, 
a.d.  1583,  we  come  upon  another  Imperial  order  for  over 
96,000  pieces,  and  more  remonstrances  from  censors  on  the 
quantity  of  pricket  candlesticks,  wind  screens,  and  paint-brush 
vases ;  on  the  uselessness  of  such  things  as  chessmen,  jars  to 
put  them  in,  and  chessboards  ;  on  the  trifling  importance  of  the 
screens,  paint-brush  barrels,  flower  vases,  covered  jars  and 
boxes.  The  censor  ventures  to  ask  whether  20,000  covered 
boxes  of  different  form  and  decoration,  4000  vases  for  flowers, 
of  varied  shape,  and  5000  jars  with  covers,  be  not  too  large  a 
number ;  and  whether  dragons  and  phoenixes,  flowering  plants 
and  such-like  elaboration,  carved  in  open  work  and  painted  in 
enamel  colours,  be  not  work  of  too  complicated  a  kind.  He 
quotes  the  ancient  emperor,  Shun,  whose  vessels  are  said  to 
have  been  unvarnished,  and  Yu,  who  refused  to  chisel  his 
sacrificial  bowls,  and  appeals  to  his  sovereign  to  imitate  them. 
The  result  of  this  memorial  was  the  lessening  by  one-half  of 
the  quantity  of  pricket  candlesticks,  chessboards,  screens,  and 
paint-brush  vases." 


284  MING. 


Five-coloured  or  Early  Famille  Verte,  with  Blue  under 

the  Glaze. 

No.  493  belongs  to  Mr.  Henry  Willett,  of  Brighton.  A 
rectangular  vase.  Height,  13  inches.  Base  unglazecl  and 
slightly  recessed.  Mark  on  flange  at  top,  "  Wan-leih."  The 
white  glaze  lines  the  inside.  This  vase  is  divided  into  four, 
the  stand  being  covered  with  a  pattern  in  red  and  blue. 
The  lower  part  of  the  body  is  decorated  with  dragons  in  red 
and  blue,  the  upper  with  dragons  in  red  and  green ;  the 
lions'  heads  on  two  sides  are  in  red,  and  on  the  other  two 
in  green  enamel.  The  leaf  pattern  on  the  neck  is  in  red, 
green,  blue,  and  white  veined  with  red.  On  the  flange  there 
is  a  scroll  pattern  in  red  and  blue.  It  will  be  noticed  that 
instead  of  clouds,  waves,  or  nebula  of  fire,  the  dragons  are 
disporting  themselves  in  the  midst  of  foliage ;  but  this  seems 
not  unusual  in  these  early  pieces.  This  is  the  first  specimen 
we  have  met  with  where  the  enamels  are  painted  on  the  glaze, 
and,  judging  from  the  number  of  similar  pieces  that  exist,  this 
ware  must  have  been  turned  out  in  great  quantity  during  the 
reign  now  under  review.  It  is  a  coarse  piece,  but  does  not 
lend  itself  to  photography,  so  shows  to  greater  disadvantage  in 
the  illustration  than  should  be. 

Nos.  494,  495.  A  sweetmeat  box.  Glazed  base.  Diameter, 
8J  inches  ;  height,  4  inches.  Mark,  "  Wan-leih,"  in  two  blue 
rings.  In  No.  494  we  have  the  top,  which  it  will  be  noticed  is 
perforated.  In  No.  495  we  see  the  base.  Inside,  this  lower 
half  is  divided  into  compartments,  so  as  to  keep  the  various 
compotes  separate.  The  sides,  top,  and  bottom,  it  will  be  noted, 
are  decorated  with  five-claw  dragons  in  foliage.  Although  still 
crude,  the  cover  shows  a  considerable  advance  in  the  art  of 
decoration,  the  symbols  and  flowers  being  pleasingly  blended. 
In  the  centre  we  have  what  is  known  as  the  double  aster,  but 
probably  intended  for  the  lotus  flower,  with  a  sivastilca  at 
each  of  the  four  corners  of  the  square  ;  beyond  these  we  have 
four  shells,  with  lotus  and  other  flowers  between.  The  colours 
employed  are  red,  green,  yellow,  and  blue,  the  latter  being 
under  the  glaze,  for  it  is  not  until  the  next  dynasty  that  this 
colour  is  to  be  met  with  as  an  enamel  over  the  glaze.     The 


493. 


[To  face  p.  284. 


CO 


1) 

3 


£ 


o 


OS 


MING.  28; 


better  pieces  of  famille  verte  with  blue  under  the  glaze,  said 
to  belon^  to  this  reign,  do  not  seem  to  be  marked,  and  every- 
thing appears  to  point  to  their  being  of  later  date,  so  that 
perhaps  we  have  in  this  sweetmeat  box  and  similar  pieces  the 
nearest  approach  to  the  famille  verte  that  the  Miug  dynasty 
was  capable  of  producing. 


TEEN-KE,  1620-1627. 

The  country  by  this  time  was  in  a  very  disturbed  state, 
and  only  private  manufactories  were  probably  at  work,  for  the 
Imperial  works  seem  to  have  been  closed  about  this  date.  The 
mark  is  very  seldom  mentioned  as  having  been  met  with,  and 
then  it  is  said  to  have  been  on  pieces,  painted  blue,  but  we 
have  nothing  to  guide  us  in  forming  an  opinion  as  to  the 
merits  of  the  productions  of  this  period.  In  the  Journal  of  the 
Felling  Oriental  Society,  p.  118,  Dr.  Bushell  tells  us  :  "  There 
is  an  interval  of  about  half  a  century  between  the  death  of 
Wan-li  and  the  reign  of  K'ang-hsi  when  the  Imperial  potteries 
were  re-opened  ;  during  which  time  little,  if  any,  porcelain  was 
produced,  and  it  is  generally  easy  to  distinguish  the  painted 
porcelain  of  the  two  periods.  The  decoration  in  enamel 
colours  of  the  new  dynasty  is  characterized  by  the  addition 
of  a  brilliant  blue  colour  over  the  glaze  to  the  old  colours, 
which  seems  never  to  occur  in  a  Ming  specimen." 


TSUNG-CHING,  1628-1644. 

This  being  the  last  of  the  Ming  periods,  was,  of  necessity, 
a  very  disturbed  one  :  things  had  been  going  from  bad  to 
worse  for  years,  and  now  the  end  had  come.  One  vase  in  the 
Salle  collection  is  said  to  have  been  dated  1636,  but  the  wares 
of  this  period  are  quite  unknown  to  us. 


2S6  MING  EGGSHELL. 

Ming  Eggshell. 

There  seems  no  doubt  that  the  Chinese  honestly  believe 
that  pieces  such  as  No.  647  were  made  during  the  Yung-lo 
period ;  and  Mr.  Burrnan  purchased  that  charming  specimen 
in  Shanghai,  where  the  native  experts  all  declared  it  dated 
from  that  reign.  Hsiang  Tzii-ching,  in  his  catalogue,  mentions 
a  piece  dating  from  the  Yuan  dynasty  as  faintly  engraved 
with  dragons  in  clouds  under  the  glaze,  but  this  does  not 
appear  to  have  laid  claim  to  being  eggshell.  The  history  of 
King-te-chin  states  that  a  quasi  eggshell  was  first  produced 
during  the  Yung-lo  period,  but  that  the  true  eggshell  was 
not  made  until  the  reign  of  Ching-hwa  at  the  Government 
manufactory,  and  then  again  during  the  Lung-king  and 
Wan-leih  periods.  It  seems  reasonable,  all  things  considered, 
to  suppose  that  the  specimens  given  later  on  under  Nos.  646, 
647,  are  reproductions  made  at  later  dates  in  imitation  of  what 
Chinese  writers  describe  as  having  been  manufactured  during 
the  Ming  dynasty.  The  fineness  of  the  paste,  the  beauty  of 
the  workmanship,  and  the  general  skill  displayed  in  every 
detail,  make  it  difficult  to  believe,  when  compared  with  other 
Ming  productions,  that  they  belong  to  that  dynasty.  There 
is  a  bowl  similar  to  No.  647  in  the  Salting  collection,  so  readers 
will  be  able  to  form  their  own  opinion  on  this  point.  The 
Ming  writers  certainly  speak  of  their  eggshell  as  being  as 
thin  as  a  sheet  of  paper,  but  some  allowance  must  be  made 
for  the  flowery  style  of  writing  usual  in  China,  while  the  use 
of  the  word  "  bodiless '  as  describing  that  produced  during 
the  Yung-lo  period,  would  seem  merely  to  indicate  that  it 
was  made  throughout  of  pure  porcelain,  instead  of,  as  in  the 
case  of  most  of  the  productions  of  that  period,  a  combination 
of  some  coarse  material  coated  with  porcelain,  a  custom  which 
we  find  was  continued  at  times  through  the  various  reigns  of 
the  next  dynasty. 

Symbols  on  Kobes  of  State. 

The  following,  taken  from  GutzlarT's  "  Sketch  of  Chinese 
History,"  vol.  i.  p.  136,  explains  the  meaning  of  the  twelve 
symbols  that  appear  on  the  robes  of  state.    The  Emperor  Shun 


SYMBOLS    ON    ROBES    OF   STATE.  287 

(see  Nos.  319,  320) :  "  Considering  his  ministers  as  his  feet 
and  hands,  was  particularly  anxious  that  the  executors  of  his 
commands  should  be  trustworthy  and  zealous.  To  remind 
them  of  their  duty  he  pointed  out  to  them  the  symbols  in 
their  robes  of  state.  Some  had  a  sun,  moon,  and  stars  em- 
broidered upon  them.  This  he  said  points  out  the  knowledge 
of  which  we  ought  to  be  possessed,  in  order  to  rule  well.  The 
mountains  indicate  the  constancy  and  firmness  of  which  we 
stand  in  need ;  the  dragon  denotes,  that  we  ought  to  use 
every  means  to  inspire  the  people  with  virtue ;  the  beauty  and 
variety  of  the  colours  of  the  pheasant  remind  us  of  the  good 
example  we  ought  to  give,  by  practising  the  various  virtues. 
In  the  upper  robe,  we  behold  six  different  kinds  of  embroidery, 
which  are  to  remind  us  of  the  virtues  to  be  engraved  on  our 
breast.  The  vase,  which  we  are  used  to  see  in  the  hall  of  the 
ancestors,  is  a  symbol  of  obedience  and  of  filial  piety :  the 
aquatic  herb  is  a  symbol  of  purity  and  disinterestedness ; 
the  fire,  of  zeal  and  love  for  virtue ;  the  rice,  of  the  plenty 
which  we  ought  to  procure  for  the  people ;  the  hatchet  is  a 
symbol  of  justice  in  the  punishment  of  vice ;  and  the  dresses, 
Foo  and  Fuh  (see  No.  50),  are  symbols  of  the  discernment 
which  we  ought  to  have  of  good  and  evil." 

It  would  seem  from  the  above  that  Foo  and  Fuh  are  dresses, 
and  Morrison  in  his  dictionary  gives  one  reading  of  the  word 
Foo :  "  The  fore  part  of  a  garment,  that  which  hangs  down 
before  in  Asiatic  garments  and  covers  the  inferior  garments  "  ; 
while  among  the  various  meanings  of  the  word  Fuh,  "  Naine 
of  a  certain  garment,"  and  again,  "A  wide  piece  of  cloth  or 
silk ;  a  roll  or  piece  of  cloth,  or  silk,  or  paper.  A  picture 
which  rolls  up.  The  ends  of  a  roll  ornamented ;  applied 
figuratively  to  producing  an  effect  on  the  people  by  virtue." 
It  may  be  that  No.  50  was  intended  to  represent  the  upper 
garment  of  the  Chinese,  which  is  cut  very  square,  and  hangs 
down  back  and  front.  The  head  would  be  inserted  at  the 
centre  of  the  cross,  the  two  halves  of  the  garment  buttoning 
over  the  shoulder,  while  the  two  openings  on  each  side  would 
allow  play  for  the  arms,  back  and  front. 


VOL.  II. 


288  KANG-HE. 


TSING  DYNASTY. 

The  first  emperor,  Shun-che,  ascended  the  throne  in  164-1, 
but,  unfortunately,  little  or  nothing  is  known  of  the  ceramics  of 
this  period.  The  mark  does  not  seem  to  be  met  with,  and  if  we 
have  any  specimens  we  probably  class  them  as  Ming  pieces ;  but, 
as  peace  was  long  of  being  restored,  and  the  country  remained  in 
a  very  disturbed  state  during  this  reign,  it  is  very  doubtful  if 
porcelain,  at  least  of  fine  quality,  was  made  in  any  quantity. 


KANG-HE,  1661-1722. 

This  remarkable  man — perhaps  the  most  able  ruler  China  ever 
had — when  only  eight  years  old  succeeded  to  the  throne  of  his 
father.  He  remained  under  guardians  till  fourteen,  when,  young 
as  he  was,  he  saw  the  regents  did  not  understand  the  art  of 
governing,  and  taking  the  reins  into  his  own  hands,  ruled 
with  consummate  skill  until  the  dav  of  his  death,  December  20, 
1722. 

Endued  with  great  natural  ability,  active  of  mind  and  body, 
nothing  escaped  his  notice,  and  he  interested  himself  in  every- 
thing. A  great  general,  a  keen  sportsman,  he  was  at  the  same 
time  given  to  learning,  science  and  the  arts,  while  to  aid  in  his 
studies  he  gladly  availed  himself  of  the  assistance  of  the  Jesuit 
fathers,  between  whom  and  the  Chinese  literary  class  he  had  great 
difficulty  in  keeping  the  peace.  The  worthy  fathers  record  how 
on  one  occasion  he,  with  his  own  hands,  drafted  the  petition 
they  were  to  send  in  setting  forth  their  grievances.  The  Tribunal 
of  Kites,  however,  decided  against  the  missionaries,  and  Kang-he 
had  to  invent  other  constitutional  methods  of  extricating  his 
friends  from  their  troubles. 

King-te-chin  prospered  greatly  during  his  reign,  and  marked 
strides  were  made  both  in  the  manufacture  of  porcelain  and  its 
decoration.  Used  as  it  was  in  large  quantities  in  the  palace,  it  no 
doubt  early  thrust  itself  upon  his  attention.  But  coming  to  the 
throne  at  the  age  he  did,  we  cannot  think  he  at  once  took  up  the 


OS 
QO 
CM 


CO 

a 


DECORATED   IN   ARCHAIC   STYLE.         289 

matter,  and  there  is  every  indication  that  the  marked  improve- 
ment did  not  take  place  at  the  very  commencement  of  this  period, 
in  fact,  probably,  not  until  some  twenty  years  later ;  and,  as 
already  stated,  the  finest  pieces  are  those  produced  towards  the 
end  of  the  reign. 

Like  most  great  rulers,  Kang-he  possessed  the  art  of  selecting 
the  most  suitable  men  for  filling  the  various  government  offices, 
and  Chinese  writers  accord  great  credit  to  Ts'ang  Ying-hsiian 
and  others,  who  were  during  this  period  intrusted  with  charge  of 
the  Imperial  works,  and  to  whose  knowledge,  skill,  and  anxious 
labour,  the  many  improvements  introduced  were  no  doubt  due  ; 
in  fact,  we  may  take  it  that  all  the  fine  pieces  we  possess 
date  from  after  1682,  when  the  above-named  official  seems  to 
have  taken  charge  of  the  Imperial  works  at  King-te-chin. 

Biscuit  Celadons. 

We  are  indebted  to  Mr.  G.  R.  Davies  for  the  following 
example  of  this  class,  but  which  may  belong  to  the  last  dynasty, 
although  placed  here. 

Nos.  496, 497.  (l  A  square-shaped  vase,  7h  inches  high,  with 
masks  at  side.  The  decoration  on  the  neck  and  lip  is  in  blue  on 
white  ground.  Round  the  bottom  of  the  neck  runs  a  band  in  a 
dullish  green  enamel  laid  on  over  blue,  which  extends  down 
each  four  corners  of  the  vase,  and  also  round  the.  base.  The 
surface  of  the  panels  is  unglazed  like  biscuit,  and  on  them  the 
decoration  is  somewhat  raised  or  embossed  in  various  green, 
aubergine,  turquoise,  red,  and  yellow  enamels,  though  red  and 
yellow  are  most  sparingly  used,  the  other  colours  predomi- 
nating. One  panel  represents  a  mountain  landscape  with 
figures,  and  the  other  a  phcenix  with  flowers  and  rocks.  At 
each  side  the  decoration  is  alike.  Above  the  masks  are 
emblems  in  colours,  and  below  them  bifurcated  dragons  in 
turquoise  and  aubergine.  The  masks  themselves  are  in  blue, 
and  the  rings,  which  are  only  slightly  raised  and  not  detached 
from  the  vase,  are  aubergine.  It  has  no  mark,  but  has  much 
the  appearance  of  a  Ming  piece,  to  which  date  it  may  belong." 

Decorated  in  Archaic  Style. 

No.  498  also  comes  from  Mr.  G-.  R.  Davies.  "  A  puzzle  vase, 
8  inches  in  height.     The  surface  of  this  vase  is  of  a  creamy 


290  KANG-HE. 

white,  almost  a  pale  yellow.  On  the  body  are  depicted  con- 
ventional flowers  in  green,  red,  yellow,  etc.  Round  the  neck 
is  a  raised  coil,  apparently  hollow,  which  in  some  way  through 
the  handle  formed  a  connection  with  the  interior  of  the  vase, 
but,  unfortunately,  the  handle  has  been  broken  off,  so  that  it  is 
difficult  to  follow  out  what  the  idea  was.  The  decoration  on 
the  neck  consists  of  a  band  in  green  and  black,  then  con- 
ventional flowers  in  yellow,  red,  and  green.  The  coil  is  of 
green,  with  slight  markings  in  black ;  below  the  neck  there 
is  reticulation  surrounded  by  green  enamel  slightly  etched 
with  black.  The  pedestal  of  the  vase  has  various  bands  in 
green,  also  slightly  etched. 

"  Though  it  bears  no  mark,  this  is  unquestionably  an  early 
piece  of  the  Kang-he  era.  Unfortunately,  it  has  been  muti- 
lated, but  the  writer  considers  it  a  piece  of  considerable 
interest,  both  on  account  of  its  shape  and  also  its  curious 
decoration,  apart  from  the  charming  colouring  of  the  enamels 
and  ground." 

Three-coloured. 

We  now  come  to  one  of  those  three-coloured  pieces,  so 
called  by  the  Chinese,  in  distinction  to  the  "  five-coloured  "  or 
famille  verte  class,  because  they  are  decorated  with  yellow, 
green,  and  aubergine.  The  ground  is  generally  covered  with 
yellow  glaze,  on  which  the  green  and  aubergine  appear  in 
diaper  patterns  or  other  designs ;  in  most  cases,  as  in  the 
present,  black  is  often  employed  along  with  the  other  three 
colours,  or  the  design  is  sketched  in  black,  which  shows 
through  the  coloured  enamels. 

No.  499  is  one  of  those  cylindrical  holders  supposed  to  date 
from  Ming  times.  Height,  10^  inches ;  diameter,  5  J  inches. 
No  mark.  Made  of  a  coarse  sort  of  porcelain.  The  base  is  very 
slightly  glazed,  as  also  the  inside.  The  three  white  bands,  by 
which  the  piece  is  encircled  like  the  hoops  of  a  cask,  are  fairly 
white.  The  lion  handle  is  only  on  one  side,  and  pierced  for 
a  ring  ;  the  head,  covered  with  yellow  enamel,  for  some  reason 
is  put  on  upside  down.  The  surface  is  covered  with  an  excel- 
lent transparent  green  enamel,  through  which  the  black  diaper 
pattern  of  circles  sketched  on  the  porcelain  show.  The  horses, 
symbols,  flowers,  and   waves   are   in   aubergine,   yellow,  and 


o 
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AUBERGINE.  291 

white.  Some  of  these  pieces  are  fitted  with  metal  spouts,  when 
they  are  called  water-holders.  These  pieces  vary  in  age, 
some  are  older  than  others,  and  may  date  from  Ming  times ; 
but  this  has  all  the  appearance  of  belonging  to  the  Tsing 
borderland  period. 

This  is  the  first  instance  we  meet  in  this  series  of  the  wave 
pattern  that  we  will  find  occurring  right  down  to  the  end. 

Famille  Noire  (see  also  p.  325). 

This  style  of  decoration  seems  to  be  coeval  with  the  "  three 
coloured,"  with  which  it  appears  to  have  much  in  common. 
In  these  earlier  pieces  the  black,  if  not  composed  of  other 
colours,  is  at  least  generally  coated  with  a  green  enamel. 

Nos.  500,  501  represent  two  black  bowls.  Diameter,  7| 
inches;  height,  3 J  inches.  No  mark.  These  probably  date  from 
the  early  part  of  the  reign  of  Kang-he.  The  edges  are  so  care- 
fully finished  off  that  it  is  difficult  to  arrive  at  the  composition 
of  the  jet  black  with  which  they  are  covered,  but  it  would  seem 
to  be  obtained  by  placing  green  upon  a  sort  of  black  or  brown. 
The  trunk  of  the  prunus  is  covered  with  a  very  good  trans- 
parent aubergine,  through  which  the  drawing  in  black  shows 
up  clearly.  The  pine  and  bamboo  leaves  at  the  base  are  in  a 
beautiful  green  enamel.  The  flowers  appear  to  be  painted  in 
some  white  opaque  enamel.  The  bird  is  aubergine,  yellow,  and 
green,  through  which  the  black  tracing  acts  as  shading.  In- 
side the  bowls  are  washed  with  a  green  enamel,  which,  being 
put  on  thinner,  looks  lighter  in  colour  than  that  outside.  At 
foot  there  is  a  flower  spray  outlined  in  black.  Pine  and 
bamboo  leaves  seem  to  be  a  combination  often  made  use  of, 
probably  because  both  are  emblems  of  longevity. 

Aubergine. 

The  French  have  aptly  described  this  colour  in  giving  it 
the  above  name,  for  it  resembles  the  tints  to  be  found  on  the 
egg-plant  more  than  anything  else.  It  is  a  transparent  enamel 
of  varied  hue — from  a  neutral  tint  it  ranges  to  purple,  and  from 
a  sepia  up  to  a  rich  brown.  It  is  much  used  in  the  famille 
verte  of  this  reign.  We  find  it  often  on  the  trunks  of  the  trees, 
and  in  the  squares  of  the  tessellated  pavements,  but  in  some 
cases,  such  as  Nos.  578-593,  it  entered  very  largely  into  the 


292  KANG-HE. 

decoration,  playing  the  principal  part  with  such  pleasing  effect 
that  one  cannot  but  regret  it  was  not  more  often  allotted 
this  role.  Aubergine  was  known  in  Ming  times,  and,  it  is  said 
by  the  Chinese,  long  before  that ;  at  all  events,  we  find  it  on  the 
earliest  specimens  of  famille  verte  belonging  to  the  present 
period.  It  is  very  charmingly  employed  on  many  Yung-ching 
pieces,  and  it  is  met  with  on  some  of  the  earlier  Keen-lung 
rose  verte,  but,  as  a  rule,  it  appears  to  have  been  out  of  favour 
during  the  greater  part  of  the  rose  period,  the  best  specimens 
seldom  showing  more  than  a  trace  of  it,  if  that.  On  the  late 
famille  verte  made  the  end  of  the  eighteenth  and  during  last 
century,  we  find  it  re-established  in  its  old  position  along  with 
the  greens,  as  on  the  back  of  the  lion  in  No.  309,  and  in  the 
tessellated  pavement  in  No.  895. 

Whole-coloured  aubergine  pieces  do  not  seem  very  common 
on  this  side,  whatever  they  may  be  in  China,  and  would  seem 
to  belong  to  the  biscuit  celadon  class,  as  for  example  : — 

Nos.  502,  503.  Representing  a  pair  of  small  bell-shaped 
bowls.  Diameter,  7  j  inches ;  height,  3 J  inches.  Mark,  seal  (un- 
known) in  two  blue  rings, covered  inside  and  outside  with  a  lovely 
rich  brown  aubergine  glaze,  the  further  decoration  consisting  of 
three  rough  flower  sprays  in  yellow,  green,  and  white.  Inside, 
at  the  bottom,  there  is  what  may  probably  be  intended  for 
a  fungus  in  yellow  with  two  green  leaves,  and  this  seems  the 
general  method  of  decorating  these  bowls.  The  base  is  left 
white,  the  mark  being  in  blue  under  the  glaze.  These  bowls 
should  probably  come  later  in  the  reign,  but  are  placed  here 
to  deal  with  this  important  colour  before  going  on  to  the 
famille  verte  class  in  which  it  is  so  much  used.  Some  of  these 
wiiole-colourecl  aubergine  pieces  we  find  relieved  by  white 
reserves  decorated  in  famille  verte  style. 

Famille  Verte  with  Blue  under  the  Glaze. 

Following  on  the  five-coloured  pieces  of  the  Wan-leih 
period,  we  must  now  take  up  the  early  famille  verte  of  this 
reign. 

No.  504.  A  spiral  fluted  jar  with  lotus-shaped  top.  Height, 
10  inches  ;  including  top,  12^  inches.  No  mark.  Early  famille 
verte  with  blue  under  the  glaze,  by  many  considered  to  be 
Ming,  but  most   likely  an  early  Kang-he  piece.     The  lotus 


OS 


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504. 


[To  face  p.  292. 


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FAMILLE  VERTE.  293 

work  at  the  top  and  base  is  decorated  with  red.  The  foliage 
is  in  blue  and  green,  the  latter  being  traced  in  black,  which 
shows  through  the  enamel.  The  flowers  are  in  red,  blue, 
aubergine,  and  yellow,  the  latter  not  very  brilliant,  but  still  a 
transparent  enamel.  The  aubergine  seems  much  the  same  as 
on  the  later  pieces.  The  base  is  glazed  and  slightly  recessed, 
the  stand  being  left  in  biscuit.  It  is  with  regard  to  pieces 
such  as  this  that  Mr.  Hippisley,  at  p.  418,  writes  as  follows  : 
"During  the  early  part  of  K'anghsi's  reign  green  was,  as  it 
had  been  among  the  later  productions  of  the  Ming  dynasty, 
the  predominating  colour  employed  in  decoration,  such  porce- 
lain being  hence  termed  '  la  famille  verte ' ;  and  to  this 
period  belongs,  in  fact,  much  of  the  ware  so  decorated,  which 
is  usually  ascribed  to  the  earlier  dynasty,  and  is  considered  a 
characteristic  Ming  porcelain." 

Nos.  505, 506,  507.  This  ginger  jar  (height,  8f  inches ;  mark, 
"  Kang-he  ")  is  of  interest  in  considering  the  date  of  the  origin 
of  the  famille  verte  class.  Although  it  has  been  generally  con- 
ceded that  the  finer  specimens  undoubtedly  belong  to  this 
reign,  there  seems  still  to  be  an  inclination  on  the  part  of 
many  people  to  credit  the  Ming  period  with  these  early  speci- 
mens showing  blue  under  the  glaze.  Now,  this  jar,  as  shown 
by  the  mark,  clearly  belongs  to  this  date,  and  everything  would 
appear  to  point  to  similar  pieces  dating  from  the  first  half  of 
this  reign,  and  perhaps  by  no  means  the  very  beginning  of  it. 
The  cap  top  where  it  meets  the  jar  is  edged  with  wood  so  as  to 
prevent  chipping,  and  this  is  not  unusual  about  this  time.  We 
find  the  necks  of  the  large  jars  belonging  to  this  date  lined 
with  wood,  so  as  to  prevent  chafing  with  the  drop  stoppers. 
The  colouring  of  this  piece  is  fairly  good, — two  shades  of  red, 
the  lighter  (or  that  put  on  thinly)  being  almost  a  bistre  ;  green, 
two  shades  ;  yellow,  poor ;  these,  with  aubergine,  black,  and  the 
blue,  make  six  colours  in  all.  The  trunks  of  the  trees  are  in 
aubergine. 

"During  the  Sung  dynasty  a  man  named  Ch'iu  Hsien, 
belonging  to  the  village  of  Eternal  Happiness,  in  the  Prefec- 
ture of  Ping  Kiang,  in  Kiang  Nan,  wished  to  plant  a  flower 
garden  and  set  out  a  plantation,  and  did  so.  Afterwards  a 
powerful,  wicked  man  named  Chang  Wi,  quarrelled  with  Ch'iu 
about  the  flowers,  and  destroyed  the  entire  garden,  etc. ;  but 


2Q4  KANG-HE. 

Cli'iu  was  able  to  influence  a  number  of  fairies  to  come  and  set 
all  in  order  again,  so  that  the  garden  flourished,  and  water  was 
miraculously  supplied  for  all  its  needs.  (The  above  is  the 
explanation  given,  but  does  not  seem  very  satisfactory.  I  am, 
however,  assured  that  it  is  correct." — E.  M.  L.) 

Dr.  Edkins  writes  that  Chinese  paintings  are  to  a  large 
extent  traditional,  and  that  they  go  on  reproducing  celebrated 
old  pictures  long  after  the  original  has  disappeared.  This  may 
perhaps  account  for  the  motives  sometimes  seeming  to  ill  fit  the 
representations  given,  but  the  pictures,  as  a  rule,  as  Mr.  Monk- 
house  says,  at  p.  107  of  his  book,  "  are  admirably  composed 
with  regard  to  the  telling  of  the  story."  The  ladies  in  this 
case,  no  doubt,  represent  the  fairies,  and  the  Chinese,  knowing 
the  picture,  can  at  once  give  the  motive. 

The  reader  will  notice  that  the  characters  in  the  mark  are 
not  at  equal  distances,  still  in  this  case  they  seem  to  bear  the 
impress  of  the  Imperial  factory,  and  were  undoubtedly  put  on 
when  the  piece  was  made  and  before  it  was  decorated.  The 
whole  has  a  genuine  look,  but  whether  the  mark  dates  from 
before  or  after  the  prohibition  of  nien-hao  in  1677  is  a  question 
(see  p.  298). 

Famille  Verte  with  Blue  over  the  Glaze. 

We  have  now  reached  the  first  piece  on  which  we  find  the 
blue  over  the  glaze,  a  method  of  decoration  that  seems  to  have 
been  introduced  pretty  early  in  this  reign. 

No.  508  belongs  to  Mr.  G.  K.  Davies,  who  has  kindly  sent 
the  following  description  of  it : — "A  white-ground  plate,  10J 
inches  in  diameter.  The  subject  is  a  lady  seated  on  a  bench 
nursing  a  baby,  apparently  in  the  open  air,  with  a  circular 
balustrade  and  tree  in  flower  with  red  blossoms  in  the  back- 
ground. To  the  left  is  a  picture  with  landscape  and  trees,  in 
black  and  sepia,  surrounded  by  a  deep  frame  of  blue,  with 
diaper  design  in  black,  round  which,  on  the  outside,  is  a 
narrow  band  of  aubergine,  and  on  the  inside  a  narrow  band  of 
the  same  colour  and  a  slightly  broader  one  of  yellow.  On  the 
lower  portion  of  the  plate  is  a  table  on  which  is  a  flower-pot 
containing  plants  and  flowers.  The  decoration  is  in  famille 
verte,  and  the  drawing  well  executed,  and  the  enamels  brilliant 
and   in    good   preservation,  that  principally  employed  being 


508. 


[To  face  p.  294. 


in 

si. 


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CI 

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FAMILLE  VERTE.  295 

blue  over  the  glaze.  At  tlie  back  of  the  plate  there  is  a 
deeply  indented  groove,  showing  that  it  was  intended  to  fit  on 
to  the  lip  of  a  vase,  which,  without  doubt,  was  made  at  the 
same  time. 

"It  is  marked  Chia  Shang  Tang,  the  name  of  the  hall,  and 
Fu  Koo  Chih  revival  of  the  antique  (see  No.  41,  Franks'  book). 
It  unquestionably  belongs  to  the  early  part  of  the  Kang-he 
era." 

Compare  this  with  No.  312. 

Famille  Verte  with  Blue  under  the  Glaze. 

Nos.  509,  510,  511.  Jar.  Height,  10i  inches,  or  including 
top,  13^>  inches.  No  mark.  Unglazed  base.  To  all  appearance 
this  is  a  very  good  example  of  early  famille  verte  with  the 
blue  under  the  glaze,  but  it  has  a  rim  of  coffee  glaze  on  the 
edge  of  the  neck  where  the  top  fits  on.  Now,  writing  in  172L2, 
Pere  d'Entrecolles  says :  "  There  is  another  kind  of  varnish, 
called  Tsi  kin  yeiv,  that  is,  varnish  of  burnt  gold ;  but  I  should 
rather  call  it  varnish  of  the  colour  of  cast  brass,  or  coffee,  or 
of  a  dead  leaf.  To  make  this  varnish,  which  is  a  new  inven- 
tion, etc."  The  term  "  new  invention  "  might  mean  pretty 
well  anything  in  China.  Still,  as  Kang-he  came  to  the  throne 
in  1661,  some  fifty  years  is  rather  a  wide  margin,  and  this  is 
one  of  the  many  difficulties  that  beset  the  collector.  The 
coffee  glaze  seems  very  well  preserved,  and  may  have  been 
added  at  a  later  date,  or  the  piece  itself  may  have  been  made 
to  order  towards  the  end  of  the  seventeenth  century  by  some 
one  W'ho  preferred  the  early  style  to  the  later  productions  of 
this  reign,  and  the  Mang  on  the  vase  shown  in  No.  510 
seems  to  favour  this  latter  supposition,  as  it  probably  denotes 
the  rank  of  the  person  for  whom  the  jar  was  made,  while  the 
quality  is  superior  to  most  of  this  class.  As  far  as  the  coffee 
glaze  goes,  it  does  not,  however,  do  to  attach  too  much  impor- 
tance thereto,  because  Dr.  Bushell,  writing  in  the  Journal  of  the 
Peking  Society,  tells  us,  at  p.  117,  quoting  from  the  third  book 
of  the  Fao  Shuo,  how  a  brown  or  coffee  colour  was  made 
during  the  reign  of  Wan-li,  and  goes  on  to  say :  "  Pere 
d'Entrecolles  is  therefore  mistaken  in  stating  this  to  be  a 
new  invention  in  his  time."  Whenever  the  colour  came  in,  it 
does  not  seem  to  have  been  generally  used  on  the  edges  of 

vol.  11.  C  2 


2</3  KANG-HE. 

plates,  etc.,  until  towards  the  end  of  the  feign  of  Kang-he. 
On  No.  511  we  have  a  wide-spreading  beaker  with  pseony  and 
magnolia,  the  latter  having  aubergine  stalks  and  flowers  in 
light-green  enamel,  to  show  up  which  the  groundwork  is 
darkened  by  light  washes  of  blue  under  the  glaze.  In  the 
next  reign  we  shall  find  these  flowers  left  unaided  on  the 
white  porcelain.  At  the  sides  are  peach  blossom  and  citron. 
"  Lemons  and  citrons  are  very  common  in  some  southern 
provinces,  and  extraordinary  large ;  but  these  are  scarcely  ever 
eaten,  being  only  made  use  of  for  ornaments  in  houses,  where 
they  put  seven  or  eight  in  a  china  dish,  to  please  the  sight 
and  smell ;  however,  they  are  exceedingly  good  when  can- 
dy'd." — Du  Halde,  i.  307.  Those  here  are  "the  hand  of 
Budh  "  (see  p.  109).  In  No.  510  we  have  the  "  Mang  "  vase 
with  peach  blossom,  with  aubergine  jardiniere  on  either  side, 
one  with  narcissus,  the  other  with  peaches  and  pomegranates. 
In  No.  509  the  usual  rock  and  palm  to  fill  up  the  space 
between  the  two  above-described  decorations ;  the  rock  is  in 
blue,  the  palm  in  green.  On  the  neck  there  are  jjeaches  and 
peach  blossom,  and  peaches  and  pomegranates  on  the  cover, 
the  knob  at  top  being  coated  with  blue.  This  jar  has  probably 
been  made  as  a  wedding  present,  if  we  may  judge  from  the 
flowers  used  in  its  decoration. 

The  discovery  of  the  painting  in  blue  over  the  glaze  does 
not  appear  to  have  entirely  stopped  the  demand  for  pieces  in 
part  decorated  with  blue  under  the  glaze,  and  the  manufacture 
of  the  two  descriptions  of  famille  verte  probably  was  carried 
on  concurrently,  the  latter  style  culminating  towards  the  end 
of  the  reign  in  pieces  such  as  No.  589.  During  this  period 
it  does  not  seem  that  the  two  methods  of  applying  the  blue 
was  ever  adopted  on  the  same  piece,  but  we  find  this  done 
later  on. 

Blue  and  White. 

Of  all  the  various  wares  made  at  the  end  of  the  Ming 
dynasty,  there  is  every  reason  to  believe  that  the  blue  and 
white  was,  according  to  our  notions,  the  best,  so  that  it  is  this 
description  that  we  might  expect  to  see  first  brought  to  per- 
fection during  the  reign  of  Kang-he;  but  if  you  show  any 
decent  piece  of  blue  and  white  to  exrjerts  on  either  side  of  the 


512. 


513. 


[To  face  p.  297. 


CO 

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10 


BLUE  AND   WHITE.  297 

globe  you  are  at  once  told  it  belongs  to  the  middle  or  last  half 
of  this  reign ;  thus  it  becomes  a  difficult  matter  to  say  what 
was  produced  during  the  early  part  of  the  period  now  under 
review,  as  even  the  inferior  specimens  that  might  be  so  passed 
are  difficult  to  meet  with,  and  it  is  just  a  question  if  the  better 
quality  was  not  made  sooner  than  generally  acknowledged. 
The  paste  and  glaze,  however,  as  compared  with  other  wares, 
argue  in  favour  of  the  experts,  and  seem  to  uphold  their 
opinion,  thus  also  making  the  famille  verte  class  later  than 
generally  supposed. 

Nos.  512,  513  represent  a  blue  and  white  plate,  probably 
made  during  the  first  half  of  this  reign  for  the  European 
market.  Diameter,  17  inches  ;  height,  3  inches.  As  shown  in 
No.  513,  it  has  a  flat,  unglazed  back,  on  which,  in  black,  is  the 
Kang-he  mark,  and  the  six  characters  would  seem  to  have 
been  written  before  the  rings  were  made,  as  the  reader  will 
notice  that  the  inner  one  cuts  the  two  bottom  characters. 
The  decoration  consists  of  a  dragon  at  sea,  with  two  large  and 
three  small  fish.  In  quality  this  plate  is  not  equal  to  what 
we  find  later,  and  has  all  the  appearance  of  being  a  genuine 
old  piece,  and  as  such  is  of  much  interest,  although  the  mark 
may  not  be  that  of  the  Imperial  factory.  The  question,  how- 
ever, is  whether  it  is  one  of  the  nien-hao  made  before  the 
prohibition  referred  to  under  the  next  paragraj)h ;  if  so,  it  was 
made  between  the  years  1662  and  1677.  This  plate  belongs 
to  Mr.  Simons. 

We  will  now  take  it  that  Kang-he  has  been  some  twenty 
years  on  the  throne,  and  that  we  are  entering  on  the  middle 
period  of  this  reign,  when  we  may  expect  to  find  a  marked 
improvement  in  productions  of  King-te-chin. 

Nos.  514,  515,  516.  Blue  and  white  ginger  jar.  Height,  Sh 
inches.  Mark,  two  blue  rings.  Here  we  have  the  regular 
old  "  Lange  Lijsen  "  figures  (see  p.  154)  with  big  heads,  which 
later  on  got  reduced  to  proper  proportions.  The  style  of 
doing  the  hair  is  also  different  to  that  we  find  in  later  pieces. 
In  No.  515  we  have  three  ladies  seated  at  a  table  with  chess, 
in  No.  514  another  is  arriving  with  her  lute,  in  No.  516  we 
have  a  fifth  coming  to  join  the  party  with  a  fan  in  one  hand, 
while  on  the  other  the  reader  will  notice  the  elegance  of  her 
long  nails.      This  jar  is  made  of  very  good  porcelain  colour 


2Q3  KANG-HE. 

and  glaze,  being  just  as  in  the  later  productions,  so  probably 
is  not  older  than  about  the  twentieth  year  of  this  reign,  for 
these  empty  rings  are  some  guide  to  its  age.  Marryat,  at  p. 
209,  quoting  from  Stanislas  Julien,  says,  "  Unfortunately  these 
dates  (nien-hao),  which  were  continued  for  more  than  six 
centuries,  were  suppressed  by  order  of  the  prefect  of  the  dis- 
trict of  King-te-tchin,  who,  in  1677,  prohibited  the  inscription 
of  the  names  of  the  periods  or  the  history  of  great  men,  under 
the  pretext  that  if  the  porcelain  were  broken,  the  emperor 
designated  by  the  period,  and  the  holy  persons  represented  in 
the  paintings,  would  undergo  a  kind  of  profanation."  Dr. 
Bushell  and  3Ir.  Hippisley  say  this  prohibition  did  not  long 
remain  in  force,  and  seem  to  have  no  doubt  that  up  to  this 
time  no  marks  except  the  nien-hao  had  been  used,  so  that 
when  we  find  a  piece  with  two  empty  rings,  the  leaf,  or  other 
mark,  we  may  feel  sure  that  it  dates  from  1677  or  thereafter. 
When  the  prohibition  was  removed  is  not  known  ;  however, 
the  new  marks  certainly  continued  to  be  used  by  outside 
factories,  if  not  at  the  imperial  works,  as  they  appear  on  quite 
modern  pieces,  as,  for  instance,  the  two  rings  on  No.  375,  but, 
as  in  that  case,  the  mark  probably  is  intended  to  be  in  keeping 
with  the  decoration  which,  on  the  plate  referred  to,  is  a  copy 
of  the  Kang-he  famille  verte.  Nor  have  we  any  guarantee 
that  pieces  were  always  marked  before  1677,  or  that  when  the 
two  blue  rings  were  made  the  nien-hao  was  invariably  filled  in, 
but  still  it  is  a  great  help  if  we  may  take  it  for  certain  that 
the  leaf  and  other  than  date  marks  were  not  used  before  1677, 
and  certainly  observations  would  seem  to  bear  out  the  correct- 
ness of  the  statement. 

Archaic  drawing  must  not  be  taken  as  anv  indication  of 
age.  True,  in  this  instance,  it  may  be  by  some  old  artist  who 
could  not  go  with  the  times,  but  Ave  find  the  same  thing  crop 
up  right  down  the  series,  when  the  most  probable  explanation 
is  that  the  pieces  have  been  decorated  in  imitation  of  some 
old  painting. 

"  Merely  represent  ladies  playing  chess  and  musical  instru- 
ments." 

In  No.  517 — a  blue  and  white  dish  (diameter,  15  inches ; 
height,  2^  inches) — we  have  what  might  be  taken  as  an  early 
piece.     The  basket  of  flowers  and  the  general  decoration  have 


517. 


518. 


[To  fare  p.  298. 


VANDYKE   PATTERN.  299 

an  old  look,  but  the  mark — a  leaf  in  two  blue  rings — places 
it  after  1677,  and  the  quality  in  all  respects  appears  to  justify 
the  date  the  mark  would  seem  to  indicate. 

As  a  later  specimen  of  first  half  of  Kang-he  blue  and  white, 
we  may  take  No.  518.  This  dish  (diameter,  15  inches;  height, 
21  inches ;  mark,  lotus  in  two  blue  rings)  is  decorated  in 
what  is  known  either  as  the  Persian  or  Vandyke  style.  AVith 
regard  to  this,  Mr.  C.  F.  Bell  writes  as  follows : — 

"  I  now  come  to  the  question  of  the  Vandyke  pattern.     I 

speak  with  the  utmost  deference  to  ,  but  I  should  much 

like  to  know  upon  what  grounds  he  attributes  the  origin  of 
this  style  to  the  Persians,  though  it  was,  of  course,  used  freely 
during  the  seventeenth  and  eighteenth  centuries  by  them  and 
by  all  who  derived  artistic  motives  from  Mohammedan  sources. 

"  The  steps  of  development,  whencesoever  they  come,  are 
clearly : — ■ 

"  1.  Triangular  or  lancet-shaped  tongues  attached  to  the 
metal  binding  of  wooden  vessels  (constructed  upon  tub  prin- 
ciples) to  secure  the  nails  with  which  it  is  fastened  on. 

*'  2.  The  decoration  of  these  tongues  with  the  veining  of  a 
leaf,  for  which  the  resemblance  of  the  outlines  seems  to  call. 
Sometimes,  in  China,  as  frequently  in  the  west,  a  rude  face 
suggested  itself  as  appropriate  decoration. 

"  3.  The  modification  of  the  outline  of  the  tongues  to  a 
form  analogous  to  that  of  the  joo~e  head,  which  is  itself 
apparently  derived  from,  or  influenced  by  (through  what  course 
a  profound  knowledge  of  Chinese  ritual  and  folk-lore  could 
alone,  I  suppose,  determine),  the  bat  form — fuh. 

"  4.  At  this  stage  the  scheme  of  ornament  becomes  frankly 
unconstructional — its  origin  being  forgotten — and  what  was 
the  border  is  conveyed  bodily  into  the  middle  of  the  piece,  as 
io  your  No.  230. 

"The  origin  and  meaning  of  the joo-e  head  is  the  point 
which  wants  investigating,  together  with  the  source  of  the 
extraordinary  admiration  —  whether  religious  or  not  in  its 
origin — shown  by  so  many  Oriental  nations  for  that  particular 
class  of  contrasted  ogival  curves  or  something  which  they  once 
represented. 

"  I  do  not  think  that  it  would  nowadays  be  considered 
wise   to    pit    any   historical   speculation   whatsoever   against 


300  KANG-HE. 

fair  evidence   of  the   constructional  origin   of  a    scheme  of 
ornament." 

The  Blending  of  Previous  Styles. 

These  fonr  figures  can  be  examined  any  day  in  the  Salting 
collection  at  South  Kensington.  They  would  seem  to  belong 
to  the  first  half  of  this  reign,  and  are  instructive  as  showing 
how  the  greens  with  yellow  and  aubergine,  the  white  upon  red, 
and  the  blacks,  all  merge  into  the  later  famille  verte  which 
may  be  said  to  be  the  outcome  of  ringing  the  changes  on  the 
old  methods  of  decoration. 

Nos.  519  and  520  are  alike  in  that  the  groundwork  is 
composed  of  a  light  green  glaze,  the  waves,  dragons,  flowers, 
and  foliage  being  in  yellow,  aubergine,  or  green  of  a  darker 
shade ;  we  also  find  the  white  primus  blossom  used  to  relieve 
the  green  surface. 

No.  521  holds  a  green  peach  in  each  hand  ;  the  upper 
part  of  the  dress  being  in  yellow  glaze  with  green  and  red 
ornaments,  the  sash  black,  same  as  we  find  on  famille  verte 
pieces,  while  the  lower  part  of  the  costume  is  red  with  white 
scroll-work,  such  as  we  meet  with  in  the  famille  verte  borders. 

No.  522  holds  a  peach  in  the  only  hand  visible,  while  the 
dress  is  a  nearer  approach  to  the  famille  verte,  the  circular 
reserves  being  filled  with  landscapes,  the  other  decoration 
being  in  black,  green,  yellow,  and  aubergine,  with  a  white 
upon  red  band  to  the  headdress. 

No.  519.  "An  idol  called  the  Great  King,  who  is  said  to 
protect  villages." 

No.  520.  "  The  Earth  god,  who  protects  boundaries." 

No.  521.  "  The  life  prolonging  god,  who  protects  children. 
The  Chinese  idea  is  that  when  a  child's  life  is  prematurely 
cut  off,  he  is  bitten  to  death  by  the  heavenly  dog,  and  the 
office  of  this  god  is  to  shoot  the  dog  with  a  bow  and  arrow." 

No.  522.  "The  King  of  Hades,  or  judge  of  the  invisible 
world." 

Nos.  523,  524.  These  two  figures  (height,  12^  inches)  repre- 
sent :  "  The  gods  of  the  land  and  of  grain  worshipped  annually 
by  the  emperor  at  Peking,  and  also  monthly  by  all  city  magis- 
trates, who  go  in  state  to  the  municipal  temples  for  the 
purpose."     These  are  very  good  examples  of  the  sort  of  figures 


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[To  face  p.  301. 


FAMILLE  VERTE.  301 

tliat  were  turned  out  at  this  period,  the  robes  being  decorated 
in  the  colours  and  style  of  painting  then  in  vogue  ;  but  along 
with  this,  one  is  puzzled  to  find  that  certain  parts  are  covered 
with  a  rose  enamel,  the  fact  of  the  matter  being  that  this  tint 
was  added  later  on,  during  the  Yung-ching  or  Keen-lung 
periods.  Their  then  owner  probably  thought  they  were  not  up 
to  date,  so  had  them  changed  into  rose  figures.  The  Chinese 
have  such  a  love  for  anything  old  that  it  may  have  been  the 
desire  to  combine  the  ancient  with  the  new  that  prompted 
these  redecorations,  of  which  we  find  many  examples,  and  in  this 
case  the  figures,  fortunately,  do  not  seem  to  have  suffered  by 
the  alterations  in  their  costume,  but  are  still  very  charming, 
and  certainly  more  curious  from  a  collector's  point  of  view. 

For  these,  as  also  the  next  number,  we  are  indebted  to 
Mr.  A.  Trapnell. 

No.  525  is  a  small  reticulated  square  incense-burner.  Height, 
5^  inches  ;  diameter,  5  inches.  No  mark.  The  decoration  is  in 
the  same  colours  and  style  as  the  figures  we  have  been  looking 
at,  and  seems  to  have  been  usual  about  this  period  ;  the  panels 
are  ornamented  with  carp  and  dragons  (see  p.  163).  The  flange 
at  the  top  is  left  white,  with  a  few  bamboo  leaves  traced  on  it 
in  black,  which  is  not  unusual  about  this  time.  The  sides  are 
covered  with  green  enamel,  the  reticulated  work  being  in  blue. 
The  dragon  is  in  aubergine  on  a  yellow  ground ;  this  arrange- 
ment being  reversed  in  the  case  of  the  fish,  which  is  yellow  on 
aubergine.  The  stand  is  covered  with  the  yellow  glaze.  Here 
we  have  a  three-coloured  piece  with  blue  enamel  introduced. 

Following  on  this,  as  showing  a  further  development  towards 
the  later  famille  verte  so  much  prized  by  collectors,  we  will  now 
take  No.  526,  belonging  to  Mr.  Geo.  K.  Davies,  of  which  he 
sends  the  herewith  description— 

Early  Famille  Verte, 

No.  526.  "Exhibited  Burlington  Fine  Arts  Club,  1896. 
Description,  No.  96.  A  reticulated  globular  incense-burner, 
with  flat  top,  on  pedestal  foot.  Height,  10^  inches ;  diameter,  10 
inches.  On  the  top,  surrounding  the  perforation,  is  a  narrow 
white  rim  or  border  in  white,  another  border  in  white  with 
curl-work  in  red  ;  all  the  remainder  of  the  top  is  perforated  in 
honeycomb  design  covered  with  a  yellow  enamel,  except  the 


302  KANG-HE. 

rocks,  fir-tree,  two  figures,  and  stag,  which  are  solid.  The 
principal  figure  seated  under  the  fir-tree  is  Cheon  Lao,  the  god 
of  longevity,  in  whose  hand  is  a  gilt  joo-e,  and  the  characters 
'  Shu '  appear  on  his  robes  in  purple  and  black.  By  his  side 
stands  the  stag,  etched  in  aubergine  on  white  ground,  with 
clouds  in  various  coloured  enamels,  as  are  the  rocks  and 
flowers  ;  his  attendant  is  presenting  him  with  a  tray  of  peaches. 
The  globe  of  the  incense-burner  is  divided  into  sixteen  panels, 
eight  on  the  upper  half  and  eight  below  the  double  band  of 
aubergine,  covered  with  a  herring-bone  design  in  black,  with 
red  and  purple  flowers  at  regular  intervals  with  yellow  centres. 
The  bands  dividing  the  panels,  both  above  and  below  the 
aubergine  border,  are  yellow,  and  on  each  is  a  flower  in  blue, 
with  a  sort  of  scroll-leaf  running  up  and  down  in  green.  At 
the  top  and  bottom  of  each  panel  is  a  solid  ground  of  porcelain 
decorated  in  black,  with  a  bamboo-leaf  design  on  a  green 
ground ;  from  this  the  reticulation  commences,  and  surrounds 
on  the  upper  half  figures  of  the  eight  immortals,  and  on  the 
lower  boys  playing  with  various  kinds  of  toys.  At  the  bottom 
of  the  bowl  is  a  band  of  aubergine,  on  which  runs  a  scroll 
design  in  black ;  below  this  there  is  a  plain  circle  of  yellow 
enamel,  and  here,  again,  another  band  of  green  in  the  form  of 
joo-e  heads,  which  are  made  more  complete  in  design  by  a 
slight  scroll  in  black  on  the  green ;  below  this  is  a  broad  band 
of  the  same  creamy  thick  black  which  forms  the  ground  of  the 
early  Kang-he  black-ground  vases,  with  coloured  enamels.  A 
white  rim  surrounds  the  base.  The  enamels  used  in  the  decora- 
tion of  the  robes  of  the  figures  and  other  designs  are  red, 
purple,  green,  yellow,  aubergine,  and  black.  There  is  no  mark, 
but  it  is  undoubtedly  a  very  early  specimen  of  the  Kianghi 
era,  1661-1722.  This  piece  was  sent  to  me  by  my  friend, 
Mr.  Burman,  from  China  many  years  ago,  with  this  definition 
of  the  epoch." 

"We  now  come  to  three  early  examples  from  the  Bennett 
collection. 

No.  527.  "  A  four-sided  teapot  with  handle.  The  colouring 
of  the  ground  on  each  side  is  different,  one  being  yellow, 
another  pale  pea-green,  another  pale  sea-green,  and  the  other 
aubergine.  Each  panel  is  differently  decorated,  one  with  lotus 
and  paddy  birds,  another  with  chrysanthemums,  another  with 


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FAMILLE   VERTE.  3   3 

paconies  and  pheasant  on  rock,  the  other  with  hawthorn  and 
birds.  The  handle  is  covered  with  small  floral  designs,  as  also 
the  spout.  The  cover  is  in  aubergine,  with  plaques  of  flowers 
and  bands.     No  red  appears  in  the  decoration. 

"  It  is  a  very  dainty  little  piece  of  the  earlier  portion  of 
the  Kang-he  era." 

No.  528.  "  A  bowl  3 L  inches  high  by  8  inches  in  diameter. 

"  The  groundwork  of  this  bowl  is  vellow,  on  which  are 
drawn  various  fish  in  green,  black  and  white,  and  white,  swim- 
ming amongst  stems  and  leaves  of  seaweed  and  other  aquatic 
plants.  The  interior  of  the  bowl  is  yellow,  at  the  bottom  of 
which  is  a  carp  in  green  with  black  scales. 

"  It  is  marked  on  the  base  with  the  six  characters  of  the 
Ching  Hwa  period  (1405-1488),  but  this  is  evidently  a  mistake,20 
as  it  clearly  belongs  to  the  earlier  portion  of  the  Kang-he  era." 

No.  529.  "A  small  sexagonal  teapot  of  pale  sea-green 
ground. 

"  Each  panel  is  separated  by  a  narrow  yellow  line,  and  on 
the  shoulder  are  fancy  borders  in  aubergine,  green,  and  yellow. 
Each  panel  contains  drawings  of  various  utensils  and  vases  in 
several  shades  of  green,  aubergine,  yellow,  and  black.  It  is 
surmounted  by  a  cover  of  a  pale  green,  on  which  are  several 
symbols  and  borders ;  and  the  same  decoration  is  on  the 
spout.  The  handle  is  in  pale  yellow,  with  black  lines  repre- 
senting the  bamboo. 

"  This  also  belongs  to  the  earlier  portion  of  the  Kang-he 


5) 

era. 


Three-coloured. 

Although,  as  we  have  seen,  this  style  had  got  merged  into 
others,  still  it  appears  at  times  to  have  been  reproduced  in  its 
original  simplicity.  Of  this  we  have  a  very  good  example 
in  the  interesting  little  vases  (Nos.  530,  531)  belonging  to 
3 Irs.  Bythesea,  which  are  very  good  examples  of  this  class, 
the  enamels  being  very  transparent  and  of  excellent  colour. 

20  I  should  think,  without  doubt,  this  is  an  early  Kang-he  howl.  The  mark 
of  Ching  Hwa  is  placed  on  many  specimens  of  the  Kang-he  period  intentionally, 
and  it  is  supposed  that  the  artists  paid  homage  to  the  period  Ching  Hwa,  and 
may  have  been  copying  specimens  which  are  now  almost  undiscoverable. — 
T.  J.  L. 

VOL.  II.  D 


304  KANG-HE. 

Height,  GJ  inches.     Xo  mark.     Flange  stand.     In  Xo.  530  we 
have  the  front  view,  and  in  No.  531  the  side,  which,  it  will  be 
noticed,  is  rather  narrower  than  the  other.     The  bodv  of  the 
vase  is  yellow,  with  green  trellis-work ;  these,  with  aubergine 
and   black,  are   the   only  colours   employed.      In   front,  the 
medallion  is  in  green,  with  black  scrolls,  the  flower  in  the 
centre  (known  as  the  double  aster,  but  probably  intended  for 
the  lotus)  being  in  aubergine,  with  yellow  middle.     At  the 
side  the  medallion  is  yellow,  the  flower  being  again  in  auber- 
gine, with  £reen  and  yellow  middle.     These  medallions  are 
marked  off  by  bands  of  aubergine,  green,  and  yellow.     At  the 
base  the  leaves  are  in  green,  with  aubergine  and  yellow  stems, 
black  reining.     The  leaves  on  the  neck  are  aubergine,  with 
green  band,  green  ground  above  with  yellow  spots,  rim  left 
white.     "Unfortunately  the  stands  and  tops  in  the  same  deco- 
ration which  originally  belonged  to  these  vases  are  wanting. 

Famille  Verte  with  Blue  Enamel. 

Xo.  532.  Famille  verte  goblet.  Height,  4J  inches.  Xo 
mark.  Wide  stand,  with  centre  recessed  and  glazed.  The 
surface  is  marked  off  by  red  lines  into  three  compartments 
decorated  witli  primus,  pa?ony,  and  peach  blossom,  the  rocks 
being  in  blue  and  green.  Border  at  edge  in  red,  with  green 
leaves  and  spots,  that  at  base  in  green  and  red.  There  is 
nothing  particular  in  this  piece,  but  it  is  interesting  as  showing 
what  was  made  for  shipment  to  Europe  about  this  time,  or 
perhaps  later.  This  piece,  judging  from  the  edge,  originally 
had  a  top. 

This  belongs  to  Mrs.  Bythesea. 

Famille  Verte  tvith  Blue  under  the  Glaze. 

As  already  stated,  if  we  are  getting  into  the  middle  portion 
of  this  reign,  we  must  expect  to  find  a  considerable  improve- 
ment in  the  quality,  as  compared  with  Xos.  504  to  507 ;  and 
as  an  illustration  of  this  we  may  introduce — 

Xos.  533,  534,  535,  the  other  three  sides  of  Xo.  297, 
and,  as  in  the  first  volume  the  motives  do  not  seem  in  all 
cases  to  have  been  correctly  stated,  it  is  well  to  refer  to  this 
piece  again.  Xo.  297  is  said  to  represent :  "  General  Ohio 
sroino:  forth  to  war,  meets  a  man  and  woman,  whom  he  takes 


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FAMILLE   VERTE.  305 

to  be  spies  and  determines  to  kill ;  they  are  seen  below 
pleading  for  mercy.  The  executioner  is  at  the  top  of  the 
picture  with  sword,  and  a  bannerman  is  holding  a  banner  over 
the  general's  head." 

No.  533  depicts  two  damsels  dwelling  at  Ngo  Mi  hill,  a 
noted  peak  in  Sze-chuan,  who  are  both  in  love  with  the  suitor 
seen  below. 

No.  534.  "  When  General  Luk  Saung  of  Woo  was  fighting 
with  Suk  during  the  Han  dynasty  at  Ngu  Pok  Puo,  he  entered 
a  number  of  stone  alleys,  made  to  represent  the  eight  trigrams 
and  erected  by  Mr.  Chu  Kak  Kung  Ming,  and  losing  his  way, 
was  unable  to  get  out.  Meeting  with  Mr.  Kung  Ming's  father- 
in-law,  Wong  Sing  Ngieng,  he  showed  him  the  way." 

No.  535,  as  stated  at  p.  17G,  represents  a  scene  from  the 
famous  historical  romance  the  "  San  Kwoh  Che,"  or  "  History 
of  the  Three  Kingdoms,"  Lii  Pu  being  the  adopted  son  of  Lung 
Cho.  Professor  Giles,  at  p.  726,  gives  the  young  lady's  name 
Tiao  Ch'an,  second  century  a.d.,  "  A  singing-girl  in  the 
establishment  of  Wang  Ytin.  The  latter  is  said  to  have  pre- 
sented her,  at  her  own  instigation,  to  Tung  Cho,  and  then  to 
have  told  Lii  Pu  that  she  had  been  really  intended  for  him, 
but  that  Tung  Cho  had  carried  her  off.  By  this  device 
Lii  Pu  was  so  inflamed  with  anger  that  lie  readily  consented 
to  carry  out  the  murder  of  Tung  Cho."  P.  55S,  under  the 
heading  Lii  Pu :  "  He  soon  after  succeeded  in  rousing  Tuno* 
Cho's  anger  by  an  intrigue  with  one  of  his  servant-girls,  and 
in  a  fit  of  temper  Tung  Cho  threw  a  halberd  at  him.  Kesent- 
ment  and  fear  bade  him  to  listen  to  the  proposals  of  Wang 
Yvin,  then  in  search  of  a  tool  by  means  of  which  he  might 
accomplish  the  death  of  Tung  Cho." 

Famille  Verte  with  Blue  Enamel. 

Of  similar  date  to  the  last,  but  with  blue  enamel.  Let  us 
now  take  Nos.  530,  537,  538,  which  give  three  views  of  a  famille 
verte  beaker.  Height,  19  inches ;  diameter  at  top,  9  inches,  at 
base,  7  inches.  No  mark.  This  is  one  of  a  pair.  Very  good 
examples  of  about  the  middle  of  the  Kang-he  period.  The 
drawing  if  faulty  is  bold,  while  the  colouring  is  in  large  blocks 
of  brilliant  green,  blue,  yellow,  and  aubergine  enamels,  giving 
a  very  decorative  effect.     The  red,  as  usual,  is  flat  on  the 


3o6  KANG-HE. 

porcelain,  not  on  enamel,  but  very  bright,  and  throws  a 
warm  shade  over  the  whole  decoration ;  gilt  is  sparingly 
introduced  here  and  there.  The  designs  are  marked  off  by 
black  lines.  Top  and  bottom  the  subject  is  carried  right 
round,  helped  out  at  the  back  by  scenery  where  the  hills  are 
seen  towering  above  red  mist  or  clouds  lit  up  by  a  gilt  sun. 
The  convex  band  in  the  centre  is  divided  into  four,  the  two 
spaces  filled  with  flowers  being  smaller  than  the  two  with 
figures.  Pieces  of  this  class,  where  the  enamels  are  put  on 
so  thick  that  they  stand  up  in  relief,  are  very  effective,  and 
many  people  prefer  them  to  the  finer  work  displayed  on  the 
later  productions  of  this  reign,  where,  although  the  drawing 
and  general  workmanship  is  better,  the  colours  are  necessarily 
less  bold,  not  being  bossed  up  as  much  as  in  this  style  of 
decoration. 

On  the  top  part  of  this  vase  (in  No.  538)  we  have  Kiang 
Keli  running  with  his  mother  on  his  back,  while  in  No.  537 
the  brigands  are  seen  in  pursuit  (see  p.  29),  "  A  scholar  and 
public  servant  of  the  Ts'i  dynasty  (a.d.  490),  distinguished  by 
his  learning,  ujDrightness,  and  filial  devotion.  In  early  youth, 
during  the  disturbances  of  that  troublesome  age,  he  rescued 
his  mother  from  a  band  of  brigands  by  carrying  her  many 
miles  upon  his  back.  Himself  taken  prisoner  on  one  occasion 
by  the  forces  of  the  kingdom  of  AYei,  he  refused  to  abjure  his 
allegiance,  and  was  allowed  to  return  to  his  own  Court  with 
untarnished  honour"  (Mayers,  p.  80). 

On  the  bottom  part  of  the  vase  the  motive  is  the  lost 
general  asking  the  way  (see  No.  537).  In  the  middle  part 
in  No.  537  we  have  a  youth  presenting  a  flower  to  an  aged 
gentleman,  and  in  No.  538  a  fowl.  This  latter  may  refer  to 
Yii  Ch'eng-lung  (1617-1G8I),  an  upright  official,  who  died 
poor.  "  He  did  not  allow  his  family  to  live  in  his  yamen,  and 
the  officials  who  took  an  inventory  of  his  effects  found  only  a 
few  cotton  quilts  and  a  little  rice  and  salt.  In  times  of 
scarcity  he  lived  on  bran  porridge,  which  he  shared  with  his 
subordinates ;  and  on  one  occasion  he  is  said  to  have  punished 
his  son  for  daring  to  buy  him  a  fowl.  He  was  canonized ': 
("  Chinese  Biographical  Dictionary,"  p.  952).  If  this  is  really 
the  motive,  then  it  shows  that  current  events,  as  well  as  ancient 
history,  were  called  into  service  in  decorating  porcelain,  and, 


LE   COMTE.  307 

as  the  official  111  question  can  only  have  died  shortly  before 
this  vase  was  made,  the  decoration  was  probably  designed  by 
some  one  at  Peking  who  knew  him,  so  we  mav  have  here  an 
instance  of  the  drawing  of  a  courtier  sent  to  King-te-chin  to 
be  copied. 

Pere  Le  Comte. 

In  anything  connected  with  China  the  Jesuit  Fathers  are 
always  interesting,  and  Mr.  Lovell  W.  Byrne  having  picked 
up  at  a  second-hand  bookstall  a  copy  of  Le  Comte's  work, 
kindly  sent  the  following  translation  of  the  remarks  regarding 
porcelain,  which  are  of  value  as  giving  Le  Comte's  own 
observations  together  with  the  information  he  had  been  able 
to  pick  np  on  this  subject.  Le  Comte  seems  to  have  arrived 
in  China  towards  the  end  of  1087,  and  the  book  quoted  from 
was  published  in  Amsterdam  in  1097,  so  that  he  must  have 
written  between  those  years,  or  as  near  as  can  be  about  the 
middle  of  the  rei<m  of  Kang-he. 

"  Concerning  porcelain,  it  is  an  article  of  furniture  so 
common  that  it  is  an  ornament  of  every  house.  Tables,  side- 
boards, cabinets,  even  kitchens  are  full  of  it,  for  they  eat  and 
drink  out  of  it,  their  ordinary  plates  and  dishes  are  made  of 
it.  They  also  make  huge  flowerpots  of  it.  Architects  cover 
roofs  of  it,  and  often  nse  it  instead  of  marble  as  a  casing  for 
buildings. 

"  Among  the  pieces  which  are  most  esteemed,  three  different 
colours  are  observed.  Some  are  yellow ;  but,  although  in 
these  the  paste  may  be  very  fine,  it  nevertheless  appears 
coarser  than  the  others,  because  this  colour  does  not  take  so 
fine  a  glaze.  It  is  used  in  the  Emperor's  palace.  Yellow  is 
his  particular  colour,  which  no  one  else  may  use.  Thus,  one  may 
say  that,  in  the  matter  of  porcelain,  the  monarch  is  the  least 
favoured  of  all  users. 

"  The  second  kind  is  of  a  grey  colour,  often  hatched  with 
an  infinity  of  small  irregular  lines,  which  cross  as  if  the  vessel 
were  cracked  all  over,  or  made  up  of  small  pieces  like  mosaic. 
I  do  not  know  how  they  make  these  marks,  for  I  can  hardly 
believe  that  they  can  draw  them  with  a  pencil.  Perhaps  the 
explanation  is  that  when  the  porcelain  is  baked  and  still  hot 


303  LE   COMTE. 

it  is  exposed  to  cold  air,  or  that  it  is  dipped  in  cold  water, 
which  makes  it  open  all  oyer,  as  in  winter  it  sometimes  happens 
to  crystalline  bodies.  Afterwards,  they  cover  the  surface 
with  a  coat  of  glaze,  which  covers  the  inequalities,  and  which, 
by  means  of  reheating,  gives  it  the  same  united  and  polished 
appearance  as  before.  However  this  may  be,  this  kind  of 
vases  have  for  me  remarkable  beautv,  and  I  am  sure  that  our 
virtuosi  will  prize  them. 

"  The  third  and  last  kind  of  porcelain  is  white,  with  divers 
designs  of  flowers,  trees,  or  birds,  that  they  paint  upon  it  in 
blue  such  as  we  have  in  Europe.  This  kind  is  the  most 
common  of  all,  and  everybody  makes  use  of  it ;  but  (as  in 
the  case  of  glasses  or  crystals,  all  the  specimens  are  not  equally 
beautiful),  so  among  the  pieces  of  porcelain  some  are  of  but 
slight  merit,  and  are  hardly  better  than  our  earthenware. 

"  The  connoisseurs  of  porcelain  do  not  always  agree  in 
their  opinion,  and  I  have  noticed  that,  in  China  (as  in  France), 
their  imagination  has  a  great  deal  to  do  with  it.  But  it  must 
be  avowed  that  four  or  five  different  qualities  must  concur  to 
make  a  perfect  piece  of  porcelain — the  fineness  of  the  material, 
the  whiteness,  the  glaze,  the  painting  and  the  drawing  of  the 
figures,  and  the  shape  of  the  piece. 

"  The  fineness  of  the  material  is  known  when  the  latter  is 
transparent,  regard  being  had  to  the  thickness.  The  edges  are 
generally  thinner,  and  it  is  by  the  edges  that  transparency  is 
judged.  When  the  vases  are  very  large  it  is  difficult  to  know 
anything  about  the  material,  unless  the  owner  is  willing  to  clip 
off  a  small  portion  at  the  bottom  :  for  in  that  case  the  colour 
of  the  interior  material  or,  as  they  say,  the  grain,  only  enables 
them  to  judge  with  certainty :  this  also  appears  when  it  is 
possible  to  rejoin  the  severed  parts  so  perfectly,  that  no  mark  of 
rupture  is  visible ;  for  that  is  a  sign  of  the  hardness,  and, 
consequently,  of  the  fineness  of  the  material. 

"  The  whiteness  must  not  be  confused  with  the  brilliancy 
of  the  glaze  with  which  the  porcelain  is  clothed,  and  which 
consitutes  a  sort  of  mirror  ;  so  that,  on  looking  at  the  porcelain 
near  to  other  objects,  the  colours  of  the  latter,  as  it  were,  paint 
themselves  upon  it.  This  effect  by  reflection  is  by  itself 
sufficient  to  make  me  form  a  wrong  estimate  of  the  natural 
whiteness.     It  is  necessary  to  carry  the  piece  into  the  open  air, 


LE    COMTE.  309 

in  order  to  know  its  beauties  or  defects.  Although  the  glaze  is 
perfectly  incorporated  with  the  material  and  lasts  for  ever,  yet 
it  does  get  slightly  dulled  at  last,  and  it  loses  the  extreme 
brilliancy  that  it  had  when  new,  whence  it  happens  that  the 
whiteness  appears  softer  and  more  beautiful  in  the  ancient 
porcelain  ;  the  new  pieces  are  none  the  less  good,  and  will 
become  equally  well  coloured  in  time. 

"  The  lustre  depends  upon  two  things ;  the  brilliancy  of 
1 1 10  glaze,  and  in  the  even  quality  of  the  material.  The  glaze 
must  not  be  too  thick,  otherwise  it  would  form  a  crust,  which 
would  not  be  sufficiently  incorporated  with  the  porcelain ; 
moreover,  the  brilliancy  would  be  too  great  and  too  vivid.  The 
material  is  of  perfectly  even  quality  when  it  has  no  protuber- 
ance, when  one  can  see  in  it  neither  grain,  nor  sand,  nor  eleva- 
tion, nor  depression.  If  one  examines  carefully  there  are  but 
few  vases  which  have  not  some  of  these  defects ;  not  only 
should  one  not  find  blemishes,  but  it  is  necessary  also  to  be 
careful  that  there  are  no  parts  more  brilliant  than  others  ; 
which  happens  when  the  brush  is  not  equally  applied  and  some- 
times when  the  glaze  is  applied  at  a  time  when  all  parts  of  the 
piece  are  not  equally  dry;  the  slightest  moisture  causing  a 
sensible  difference. 

"  The  painting  is  not  the  least  of  the  beauties  of  porcelain  ; 
it  is  possible  to  apply  all  sorts  of  colours ;  but  in  the  ordinary 
way  they  use  red  and  much  more  commonly  blue.      I   have 
never  seen  any  vase  on  which  the  red  was  very  vivid  ;  this  was 
not  because  the  Chinese  have  none  of  that  quality,  but  because 
this  colour  dulls  upon  the  material,  which  absorbs  the  finer  and 
most  coloured  particles ;    for  the   different   foundations   have 
much  to  do  with  increasing  or  diminishing  the  brilliancy  of 
colours.    As  regards  blue,  they  have  it  in  perfection ;  neverthe- 
less, it  is  difficult  to  catch  that  exact  temperament  in  which  it 
is  neither  pale  nor  sunken,  nor  too  brilliant.     But  that  which 
the  workmen  seek  with  most  care,  is  to  perfectly  finish  the 
outline  of  the  figures  ;  in  order  that  the  colour  may  not  spread 
further  than   the   brush,   so   as  to  soil  the  whiteness  of  the 
porcelain  by  a  certain  bluish  water,  which  flows,  if  one  is  not 
careful,  from  the  colour  itself,  when  it  is  not  well  ground  or 
when  the  material  on  which  it  is  employed  has  not  a  certain 
degree  of  dryness  ;  very  much  as  it  may  happen  with  absorbent 
or  wet  paper  or  with  worthless  ink. 


0 


?io  LE    COMTE. 


"  It  is  much  to  be  desired  that  the  desigus  of  which  the 
Chinese  make  use  in  painting  porcelain  were  more  beautiful. 
Flowers  they  paint  well  enough ;  but  the  human  figures  are 
all  deformed.  By  this  they  do  themselves  wrong  in  the  minds 
of  foreigners,  who  know  them  only  from  these  designs,  and 
imagine  that  they  are  really  the  ridiculous  monstrosities  they 
appear  in  these  paintings.  However,  such  are  their  commonest 
ornaments.  The  most  correct  and  intelligent  drawings  will 
sometimes  please  them  less  than  these  grotesques. 

"  On  the  other  hand,  they  are  very  skilful  in  shaping  their 
vases,  however  large  they  may  be.  The  shape  is  bold,  well 
proportioned,  and  perfectly  rounded,  and  I  don't  think  our 
best  workmen  could  shape  the  large  pieces  better.  They 
value  ancient  vases  as  we  do,  but  for  a  reason  different  from 
ours ;  we  value  them  because  the  older  are  more  beautiful, 
they  because  of  age.  It  is  not,  in  fact,  because  the  workmen 
are  not  now  as  clever  or  the  material  as  good  as  in  the  past. 
Very  beautiful  porcelain  is  made  at  the  present  time,  and  I 
have  seen  entire  services  of  surprising  fineness  in  the  posses- 
sion of  Mandarins.  But  the  European  merchants  have  no 
dealings  with  the  2*ood  workmen,  and  as  thev  know  nothing 
about  it,  thev  receive  anything  the  Chinese  like  to  brine:, 
because  they  have  the  sale  of  it  in  the  Indies.  Besides,  no 
one  takes  the  trouble  to  furnish  designs,  or  have  it  made  to 
order.  If  M.  Constance  had  lived  it  would  have  been  sooner 
known  in  France  that  the  secret  of  porcelain  was  not  lost  in 
China.  But  this  is  not  our  greatest  loss  by  his  death  ;  the  loss 
to  religion  in  the  entire  East  hardly  permits  us  to  j)ay  attention 
to  artistic  and  commercial  changes. 

"  There  is  yet  one  more  reason  for  the  rarity  of  beautiful 
porcelain.  The  Emperor  has  established  in  the  province 
where  it  is  made,  a  certain  Mandarin,  whose  duty  it  is  to 
choose  for  the  Court  the  finest  vases;  he  buys  them  at  a 
very  moderate  price.  So,  the  workmen  being  badly  paid  are 
negligent,  and  do  not  care  to  take  trouble  for  which  they 
are  not  remunerated.  But  if  a  private  person  employed  them 
and  did  not  spare  expense,  we  should  now  have  as  fine  works 
as  those  of  the  ancient  Chinese. 

"  The  porcelain  which  comes  to  us  from  Eo-Kien  is  not 
worthy  of  the  name.     It  is  black,  coarse,  and  no  better  than 


LE   COMTE.  3  n 

our  earthenware.  The  most  valued  is  made  in  the  province 
of  Quam-si.  The  material  is  taken  from  one  place  and  the 
water  from  another,  because  it  is  purer  and  more  clean. 
Perhaps,  too,  this  water,  which  is  made  use  of  in  preference 
to  all  others,  is  impregnated  with  certain  salts,  which  are 
fitted  to  purify  and  refine  the  earth,  or  which  bind  its  particles 
more  closely  together,  as  happens  in  the  case  of  lime,  which 
is  worth  nothing  when  slaked  with  certain  waters,  while  others 
make  it  much  more  dense  as  well  as  stronger  and  more 
adherent. 

"  It  is  a  mistake  to  imagine  that  it  requires  a  hundred  or 
two  hundred  years  to  prepare  the  material  of  porcelain,  and 
that  it  is  very  difficult  to  make.  If  that  were  so,  it  would 
neither  be  so  common  nor  so  cheap.  It  is  an  earth,  harder 
than  ordinary  earths — more  like  a  sort  of  soft  white  stone, 
which  is  found  in  quarries  of  the  last-named  province.  It  is 
prepared  in  the  following  manner.  After  having  washed  the 
fragments  and  separated  any  sand  or  foreign  earth  that  may 
be  mixed  with  them,  the  material  is  pounded  to  a  very  fine 
powder.  However  fine  it  may  appear,  the  pounding  is  con- 
tinued for  a  very  long  time.  Although  the  hand  may  feel 
no  difference,  they  are  nevertheless  persuaded  that  it  gets 
much  finer,  that  the  insensible  parts  are  less  mixed,  and  that 
the  work  becomes  whiter  and  more  transparent.  Of  the 
powder  so  prepared  they  form  a  paste  which  they  stir  and  beat 
still  longer,  so  that  it  may  become  more  mild,  and  that  the 
water  may  become  thoroughly  incorporated  with  it.  When 
the  earth  is  well  attended  to  they  work  it  into  shape. 
Apparently  they  do  not  use  moulds,  as  is  done  in  some  other 
kinds  of  pottery ;  but  it  is  more  probable  that  they  form  it 
on  the  wheel,  as  wTe  do.  So  soon  as  they  are  satisfied  with 
their  work,  they  expose  it  to  the  sun  morning  and  evening, 
but  withdraw  it  when  the  heat  is  too  great,  lest  it  should  warp. 
In  this  manner  the  vases  dry  little  by  little,  and  the  painting 
is  applied  at  leisure  at  the  times  when  they  think  that  the 
foundation  is  in  a  fit  state  to  receive  it ;  but  because  neither 
the  colours  nor  the  vase  have  sufficient  lustre,  they  make  of  the 
same  material  of  porcelain  a  very  fine  pulp  of  which  they  pass 
several  coats  over  the  whole  work,  which  gives  to  it  particular 
brilliancy  and  whiteness.  This  is  what  I  call  the  glaze  of 
VOL.  II.  D  '1 


312  LE    COMTE. 

the  porcelain.  I  have  been  told  in  Siam  that  they  mixed 
ordinary  glaze  with  a  composition  made  with  white  of  egg 
and  shining  fish  bones  ;  but  that  is  imaginary,  and  the  work- 
men of  Fo-Kien,  who  work  like  those  of  Quam-si,  make  it  in 
no  other  way.  After  all  these  preparations  they  put  the  vases 
in  furnaces,  in  which  they  make  a  slow  and  uniform  heat, 
which  bakes  the  vases  without  breaking  them  ;  and  lest  the 
exterior  air  should  spoil  them,  they  do  not  withdraw  them 
until  long  after  the  baking,  when  they  are  of  a  thorough 
consistence,  and  are  slowly  cooled. 

"  This  is  the  whole  mystery  of  porcelain  so  long  sought  for 
in  Europe.  Providence  and  the  interests  of  religion,  which 
have  obliged  me  to  travel  over  the  greater  part  of  China, 
have  not  brought  me  into  the  province  of  Quam-si,  where  the 
material  is  found  of  which  porcelain  is  made  ;  so  I  do  not 
myself  know  enough  to  describe  the  nature  and  qualities  of 
it ;  perhaps  it  is  not  very  different  from  certain  soft  stones, 
which  are  found  in  several  provinces  of  France.  And  if 
inquiring  persons  like  to  make  some  experiments,  and  to 
work  with  care,  employing  different  kinds  of  water,  after  the 
manner  I  have  described,  it  would  not  be  impossible  to 
succeed." 

The  reader  will  have  noticed  that  Le  Comte  seems  to  deal 

only  with  celadons  and  ware  decorated  under  the  glaze.     He 

tells  us  among  the  most  esteemed  descriptions  there  were  three 

colours,  yellow,  a  crackled  grey  (?  celadon)  ware,  and  blue  and 

white.     Strange  to  say,  no  mention  is  made  of  famille  verte, 

the  product  for  which  this  period  is  most  celebrated.     It  may 

be  that  he  referred  merely  to  the  dishes  and  bowls  he  saw  in 

everyday  use,  while  the  famille  verte  might  only  be  employed 

for  decorative  purposes ;  still  the  omission  almost  forces  us  to 

come  to  the  conclusion  that  the  coarse,  five-coloured  ware  of 

Wan-leih   had   gone   out  of  fashion,  and  that  Kang-he  must 

have  been  on  the  throne  some  years  before  the  famille  verte 

as  known  to  us  was  produced,  at  least  in  any  quantity.     With 

regard  to  the  yellow  ware  for  daily  use  in  the  palace,  no  doubt 

it  was  of  very  ordinary  quality,  and  towards  the  end  of  the 

Ming  dynasty,  King-te-chin  had  been  brought  to  ruin  by  the 

immense  demands  at  unremunerative  prices  for  the  Imperial 

household :  it  was  part  of  the  duty  of  those  in  charge  at  that 


LE  COMTE.  31.3 

city  to  supply  a  large  amount  of  cheap  crockery  for  the 
use  of  the  thousands  that  lived  in  or  about  the  Imperial  domain. 
If  not  at  this  particular  period,  at  least  later  on,  the  Chinese 
could  turn  out  the  most  beautiful  yellow,  as  proved  by  the 
lovely  mustard  crackle  and  other  such  pieces  still  to  be  met 
with,  to  say  nothing  of  the  yellow  flowers  on  the  plates  of 
the  two  following  reigns.  The  worthy  father  tells  us  he  had 
never  seen  any  "  very  vivid  red,"  but  that,  like  the  yellow,  was 
to  come  later. 

If,  as  we  know  from  their  own  writers,  he  is  wrong  in  saying 
they  never  used  moulds,  he  was  at  least  right  in  stating  that 
the  workmen  then  were  as  good  as  of  old,  and  that  the  Chinese 
valued  their  ancient  porcelain,  not  because  it  was  better  than 
the  new,  but  simply  because  it  was  old.  It  is  interesting  to 
note  that  even  in  this  reign  the  palace  did  not  pay  liberally, 
and  this  may,  in  fact,  account  for  so  many  fine  pieces  being 
unmarked,  the  best  workmen  perhaps  finding  the  best  pay 
outside  of  the  Imperial  factory. 

The  European  merchant  he  is  very  severe  upon,  and  no 
doubt  justly  so,  but  he  says  fine  works  could  be  had  by  people 
who  did  not  spare  expense,  and  from  first  to  last  the  European 
merchant  has  not  done  badly.  Along  with  a  lot  of  rubbish  he 
has  secured  the  finest  productions  of  King-te-chin,  as  our 
museums  and  those  of  America,  to  say  nothing  of  private 
collections,  can  testify  to  ;  but  these,  no  doubt,  were  acquired  at 
a  later  date  as  parted  with  by  their  Chinese  owners. 

What  he  says  about  glaze  ageing  is  certainly  true ;  in 
China  and  Japan  to  this  day  experts  judge  chiefly  by  the 
paste  and  the  condition  of  the  glaze.  It  cannot  be  said  that 
they  are  invariably  right,  for,  as  in  the  case  of  Ming  eggshell, 
they  seem  to  allow  tradition  at  times  to  outweigh  their  better 
judgment,  but  beyond  all  doubt  the  paste  and  the  glaze  are 
the  best  tests  in  deciding  as  to  the  age  of  any  piece.  With 
regard  to  "the  colour  of  the  interior  material,"  very  many 
pieces,  and  almost  always  when  of  large  size,  are  made  of  some 
coarse  material  more  or  less  thinly  coated  with  porcelain,  while 
others,  like  eggshell,  are  what  the  Chinese  call  "  bodiless ' 
or  "  boneless,"  that  is,  made  throughout  of  porcelain. 

By  the  reference  to  M.  Constance  we  see  that  the  falling 
off  in  quality  at  the  end  of  the  Ming  dynasty  had  been  noticed 


*U  KANG-HE. 


J1^- 


in  Europe,  whicli  shows  that  a  trade  in  porcelain  must  have 
existed  for  some  time. 

Blue  and  White. 

That  belonging  to  the  last  half  of  this  reign  is  the  finest 
we  possess,  and  the  following  are  specimens  produced  during 
this  period : — 

Nos.  539,  540, 541.  Blue  and  white  ginger -jar.  Height,  8  J 
inches.  Mark,  leaf  in  two  blue  rings.  The  reader  will 
notice  the  comb  band  at  bottom,  and  at  top,  although  it  cannot 
be  seen  in  the  photograph,  there  is  a  hawthorn  band  showing 
six  white  primus  blossoms  on  the  blue  reticulated  ground. 
These  borders  are  not  uncommon  in  Kang-he  pieces.  Like 
many  other  of  these  jars  and  pieces  in  general,  this  appears 
to  be  made  of  some  coarse  material  and  to  be  merely  coated 
with  porcelain ;  but  the  Chinese  do  not  seem  to  draw  any 
distinction  between  these  and  the  pieces  made  of  porcelain 
throughout.  The  latter,  however,  are  beyond  all  doubt  the 
better  and  more  valued.  The  main  decoration  consists  of 
scenery  carried  right  round,  relieved  by  three  motives.  The 
first,  a  ferry  (No.  540)  ;  second,  a  scholar  seated  on  a  rock  with 
friend  or  attendant  (No.  539)  ;  third,  two  figures,  one  with  book, 
the  other  with  bag  of  books  (No.  541).  The  trees  are  carefully 
painted,  and  the  rocks  stand  out  in  shades  of  light  and  dark 
blue. 

"These  represent  the  peach-flower  fountain  scene.  The 
story  is  as  follows :  During  the  Tsin  dynasty,  in  the  time  of 
the  Emperor  Wu  Ti  (a.d.  265-275),  there  was  a  fisherman  who 
went  to  peach-flower  fountain  stating  that  his  ancestors  had 
fled  from  the  place  during  a  revolt  in  the  time  of  the  Ts'in 
dynasty  (B.C.  255-20G),  but  this  was  afterwards  proved  untrue." 
This,  no  doubt,  refers  to  "Huang  Tao-chen,  a  fisherman  of 
Wu-ling  in  Hunan,  who  lived  under  the  Chin  dynasty  some 
time  between  a.d.  280-290.  He  is  said  to  have  discovered  a 
creek  hidden  by  peach  trees,  which  led  to  an  unknown  region 
inhabited  by  the  descendants  of  fugitives  from  the  troublous 
times  of  the  Ch'in  dynasty.     There  they  lived, 

The  world  forgetting,  by  the  world  forgot. 
After   being   kindly   treated    at   their   hands,   the   fisherman 


CO 


>o 


o 


CO 
UO 


542. 


543. 


[To  face  p.  315. 


BLUE   AND   WHITE.  315 

returned,   home ;    but  lie  was  never   again   able   to   find   the 

entrance  of  that  creek." — "  Chinese  Biographical  Dictionary," 

,..   00-7 
p.  00/. 

Nos.  542,  543.  Two  blue  and  white  dishes.  Diameter,  14 
inches  ;  height,  2  J  inches.  Mark,  "Ching-hwa  "  (1465-1488),  in 
two  blue  rings.  Kang-he  pieces  with  a  Ming  mark,  and  very- 
good  examples  of  the  colour  applied,  in  broad  washes,  the  blue 
being  light  or  dark  according  to  the  quantity  of  the  pigment 
put  on.  At  back  of  each  dish  there  are  two  rock  landscapes 
painted  in  the  same  manner.  In  some  pieces  different  shades 
of  blue  seem  to  have  been  employed,  when  the  desired  effect 
is  not  arrived  at  by  the  mere  thickness  of  the  pigment  used. 
The  top  dish  illustrates  one  of  the  tales  taken  from  the  book 
of  illustrious  women  "Lye  nyu,"  which  is  given  by  Du  Halde, 
vol.  i.  p.  633,  as  follows  :  "  Chan  Wang,  King  of  Tsu,  going 
abroad,  in  a  voyage  of  pleasure,  carried  along  with  him  one  of 
his  wives,  a  daughter  of  the  King  of  Tsi.  One  day,  as  he  left 
her  in  a  pretty  agreeable  little  island,  on  the  banks  of  the 
great  river  Kyang,  he  received  news  that  the  water  had  risen 
very  high,  all  of  a  sudden.  Upon  this,  he  immediately  de- 
spatched some  lords  to  bring  the  princess  from  the  place  she 
was  then  in.  These  lords  rode  in  post-haste  to  the  princess, 
to  desire  her  to  make  all  haste  she  could  out  of  the  island  and 
to  repair  to  the  palace  where  the  king  was,  and  whither  they 
had  orders  to  conduct  her.  *  When  the  king  calls  for  me,' 
answered  she,  '  he  gives  his  seal  to  them  whom  he  sends  off. 
Have  you  the  seal  ? '  '  The  fear  lest  the  waters  should  over- 
take you,'  answered  they, '  made  us  set  out  in  haste,  and  neglect 
that  precaution.'  '  Then  you  must  return,'  answered  she,  '  for 
I  won't  follow  you  without  it.'  As  they  represented  to  her  that 
the  rise  of  the  water  was  very  sudden,  and  in  all  appearance 
would  be  very  great ;  if  they  should  return  for  the  seal,  it  would 
be  impossible  for  them  to  return  in  time.  *  I  see  plainly,' 
answered  she,  '  that  by  following  you,  I  save  my  life,  and  by 
remaining  here  I  perish ;  but  to  pass  over  a  matter  of  such 
importance  that  I  may  escape  death  would  be  to  fail  in  fidelity 
and  courage  at  the  same  time.  It  is  much  better  for  me  to 
die.'  They  then  set  out  in  haste  to  get  the  seal ;  but,  not- 
withstanding all  the  diligence  they  used,  the  island  was  laid 
under  water  when  they  returned,  and  the  princess  with  all  her 


3i6  KANG-HE. 

attendants  were  drowned.  The  kino-  regretted  her  mii>'htilv, 
but  he  yet  more  praised  her  fidelity  and  constancy."  As  seen 
in  the  dish,  the  messengers  are  just  starting  off  in  all  haste  to 
ford  the  river  which  runs  at  the  side,  while  the  princess  watches 
them  from  her  window,  the  book  of  rites  she  so  strictly  followed 
being  on  the  table  in  front  of  her.  Before  they  got  back  with 
the  seal  the  ford  was  impassable  and  the  island  itself  under 
water. 

The  lady  on  the  buffalo  in  No.  543  is  Si  Wang  Mu  (see 
p.  21),  with  her  four  fairy  handmaids,  "  who  are  said  to  have 
attended  the  goddess  on  her  visits  to  her  Imperial  votary, 
Hau  Wu  Ti.  They  poured  out  the  wines  with  which  the  feast- 
ing couple  were  regaled,  and  discoursed  strains  of  divine 
melody  during  the  banquet,  aided  by  two  fairy  youths " 
(Mayers,  p.  210).  Under  the  name  Yii  Nil,  at  p.  284,  the  same 
writer  says  :  "  The  fairy  attendants  who  act  as  handmaidens  to 
Si  Wang  Mu  :  there  is  one  for  each  point  of  the  compass,  and 
their  designations  correspond  with  the  colours  attributed  to 
the  respective  five  points."  The  reader  must  remember  that 
the  Chinese  compass  has  a  centre  as  well  as  north,  south,  east 
and  west ;  the  first  being  used  to  denote  China ;  the  other  four 
the  rest  of  the  world  lying  round  it.  Si  Wang  Mu  seems  to 
have  had  five  daughters,  and  it  may  be  these  that  are  referred 
to  as  the  points  of  the  compass.  As  they  descend  the  hill 
the  roof  of  her  palace  is  seen  among  the  clouds  below,  to  the 
reader's  left  hand. 

Nos.  544,  545.  Two  blue  and  white  dishes.  Diameter,  10J- 
inches ;  height  1-|  inch.  Mark,  "  Ching-hwa,"  in  two  blue 
rings.  These  are  much  the  same  as  the  last  two,  only  the  differ- 
ence in  the  two  shades  of  blue  is  not  so  marked  ;  the  washes  in 
this  instance  being  more  equal  in  consistency,  and  the  blue 
therefore  more  uniform  in  shade.  Preference  for  one  or  other 
would  be  a  matter  of  individual  taste.  At  back  there  are  two 
clumps  of  rocks  on  each  dish. 

No.  544.  "  During  the  Sung  dynasty  there  was  a  generalis- 
simo named  Ti  Cheng,  who  was  ordered  by  the  Princess  Pih 
Hwa  (' hundred  flowers')  to  become  the  king's  son-in-law. 
The  scene  depicts  an  interview  between  them." 

"  Chinese  Biographical  Dictionary,"  p.  725 :  "  Ti  Ch'ing. 
Died  1057.     A  native  of  Hsi-ho  in  Shansi,  who  entered  upon 


544. 


545. 


[To  face  p.  31G. 


BLUE   AND    WHITE.  317 

a  military  career,  and  between  1038  and  1042  fought  no  less 
than  twenty-five  battles  against  the  rebels  under  Chao  Yuan- 
hao.  He  was  eminently  successful,  partly  owing  to  his  great 
physical  courage.  On  one  occasion,  with  his  hair  flowing 
loose  behind  him,  and  a  cojyper  mask  over  his  face,  he 
vigorously  charged  the  enemy  and  struck  consternation  into 
their  ranks.  .  .  .  Between  1019  and  1051  he  entirelv 
suppressed  the  dangerous  rebellion  of  Nung  Chih-kao  in 
Kuangsi ;  but  although  the  latter  was  reported  to  have  perished, 
Ti  Ch'ing  refused  to  memorialize  the  Throne  to  that  effect,  on 
the  ground  of  mere  rumour,  for  his  own  glorification.  He  was 
always  much  esteemed  as  a  general ;  for  he  invariably  shared 
the  hardships  and  danger  of  his  men,  and  was  ever  ready  to 
transfer  the  credit  of  success  from  himself  to  his  subordinates. 
Was  canonized." 

No.  545.  "  During  the  T'ang  dynasty  a  military  mandarin 
named  Sieh-man  was  murdered  by  a  wicked  minister,  but  his 
little  son  named  Sieh  Chiao  was  saved  by  a  loyal  officer,  under 
whose  care  he  grew  up.  On  his  way  to  his  uncle's  house  to 
discuss  means  for  avenging  his  father's  murder,  this  young 
man  met  his  cousin,  who  was  unknown  to  him.  The  picture 
represents  their  meeting." 

Although   the  T'ang   dynasty   is   mentioned   above,   this 

seems  to  be  the  same  tale  as  that  embodied  in  the  Chinese 

play  translated  by  the  Jesuit  Premare  under  the  name  of  the 

"  Orphan  of  Chaou,"  and  which  Voltaire  made  the  groundwork 

of  his  tragedy,  "  L'Orphelin  de  la  Chine."     "  It  is  founded  on 

an  event  which  occurred  about  a  hundred   years  before  the 

birth   of  Confucius.     A  military  leader,  having  usurped  the 

lands  of  the  house  of  Chaou,  is  determined  on  exterminating- 

the  whole  race.     A  faithful  dependant  of  the  family  saves  the 

life  of  the  orphan  and  male  heir  by  concealing  him  and  passing 

off  his  own  child  in  his  stead.     The  orphan  is  brought  up  in 

ignorance  of  his  real  condition  until  he  reaches  man's  estate, 

when  the  whole  subject  being  revealed  to  him  by  his  tutor  and 

guardian,  he  revenges  the  fate  of  his  family  on  the  usurper, 

and  recovers  his  rights"  (Davis,  ii.  183). 

Xo.  510.  Blue  and  white  plate.  Diameter,  14|  inches  ; 
height,  1  \  inch.  Mark,  "  Ching-hwa,"  in  two  blue  rings.  On 
the   border   at   the   top   and    the    bottom    are   three    female 


318  KANG-HE. 

musicians ;  the  two  ladies  at  the  side  are  the  same  as  the  two 
in  the  centre — one  holds  a  fan,  the  other  a  flower.  Of  the  two 
attendants,  one  is  handing  tea,  the  other  fanning  the  charcoal 
fire  where  the  water  is  being  heated.  The  sides  are  left  plain, 
with  two  blue  rings  top  and  bottom ;  while,  as  in  No.  547,  the 
rim  is  decorated  so  that  the  figures  stand  the  same  wav  as  in 
the  centre,  and  not,  as  in  most  cases,  radiating  like  the  spokes 
of  a  wheel ;  this  arrangement  obviates  those  at  the  bottom 
standing  or  their  heads.  At  the  back  four  flower  sprays  in 
broad  washes.  The  two  ladies  in  the  centre  look  very  much 
the  same  as  those  in  No.  603,  but  the  description  sent  from 
China  of  this  motive  is  merely :  "  Chinese  ladies  in  a  garden 
look  at  a  paeony,  a  servant  preparing  tea  on  the  left."  ("  The 
paeony  is  an  emblem  of  great  prosperity.  It  is  often  seen  on 
Chinese  china." — E.  M.  L.) 

No.  547.  Blue  and  white  plate.  Diameter,  14§  inches ; 
height,  2  inches.  Mark  (to  the  reader's  left  hand), "  Ching-hwa," 
in  two  blue  rings.  On  the  border  at  top  there  is  a  willow  tree, 
at  bottom  a  palm ;  but,  owing  to  the  glaze,  the  latter  has  not 
come  out  in  the  photograph.  On  each  side  there  are  two 
ladies  with  rocks,  etc.  In  the  middle  a  lady  seated,  with  fan 
bearer,  watches  a  girl  dancing,  while  five  others  form  the 
orchestra.  At  back  two  groups  of  rock  scenery.  The  danseuse 
is  said  to  be  "  a  favourite  lady  named  Dieu  Hi  Yeng,  of  the 
harem  of  the  Emperor  Sin  of  the  Han  dynasty,  dancing  and 
singing  before  the  Empress,  while  a  company  of  maidens 
accompany  her,  playing  on  various  instruments." 

Allowing  for  the  difference  in  spelling,  this  is  the  Chao 
Fei-yen  referred  to  by  Mayers  at  p.  13.  "A  famous  beauty. 
Daughter  of  a  musician,  she  was  trained  as  a  dancing-girl,  and 
from  her  grace  and  litheness  received  the  appellation  Fei  Yen 
(flying  swallow).  Left  with  her  sister,  Ho-teh,  unprotected 
on  their  father's  death,  the  two  girls  made  their  way  to  the 
capital,  where,  after  maintaining  themselves  for  a  time  as 
courtesans,  they  attracted  the  notice  of  the  Emperor  Cheng 
Ti,  B.C.  18,  who  took  them  into  his  seraglio,  and  made  Fei  Yen 
his  favourite  concubine,  with  the  title  tsieh-yu,  or  lady-in- 
waiting.  Her  skill  in  the  art  of  dancing  (posturing)  was  such 
that  it  is  said  of  her  she  could  dance  on  the  palm  of  a  hand  or 
in  a  bowl.     In  B.C.  1G  the  Emperor,  infatuated  with  his  new 


546. 


547. 


[To  face  p.  318. 


OS 
i— I 
CO 


o 


OS 


CO 


OS 
i— t 
CO 

&, 


CO 

in 


CO 

HO 


no 

UO 


BLUE   AND  WHITE.  3*9 

favourite,  elevated  her  to  the  rank  of  Empress  consort,  con- 
ferring the  rank  of  lady  of  honour  upon  her  younger  sister. 
AVas  driven  to  commit  suicide  in  B.C.  G,  after  the  decease  of 
Ch'eng  Ti,  through  the  machinations  of  his  successor's  consort." 

Although  perhaps  possessing  little  charm  for  the  con- 
noisseur, the  piece  represented  by  Nos.  548,  549,  550,  is  of 
considerable  interest  to  the  collector  on  account  of  the  inscrip- 
tion with  which  it  is  in  part  decorated.  It  may  be  said  to  tell 
its  own  tale.  A  pear-shaped  blue  and  white  vase  with  wide 
neck,  the  stand,  as  in  No.  326,  forming  a  receptacle  at  the 
bottom  of  the  vase,  it  no  doubt  was  intended  as  a  cuspidore, 
although  it  is  stated  by  the  maker  to  be  a  flower  vase,  but  this  is 
merely  an  instance  of  how  the  Chinese  delight  to  call  things 
by  their  wrong  names,  if  by  so  doing  they  can  add  to  the 
dignity  of  an  article  intended  for  a  more  homely  purpose.  In 
sending  the  translation  3  It.  Tan  Jiak  Kim  of  Singapore  writes 
as  follows  :  "  Herewith  the  translation  of  the  Chinese  charac- 
ters on  the  flower  pot,  it  is  an  advertisement  of  the  manufac- 
turers, and  runs  as  follows :  '  The  province  of  Kiang  se,  Foo 
choo  county,  twenty-fifth  magistracy,  has  much  pleasure  to 
offer  permanently  this  pair  of  flower  pots  to  the  god  of  Knan 
Sin.  Eighth  moon  of  the  forty-seventh  year  of  the  reign  of 
Kang-he.  Then  follows  the  maker's  name.'  Here,  then,  by 
its  own  showing,  we  have  a  vase  not  made  in  the  Imperial 
factory  at  King-te-chin,  but  at  one  of  the  private  kilns  in  the 
neighbourhood.  The  blue  in  this  case  is  not  of  fine  quality, 
but  we  must  not  therefore  jump  at  the  conclusion  that  private 
makers  could  not  turn  out  work  equal  to  that  of  the  Imperial 
manufactory — in  fact,  there  is  much  about  this  vase  to  lead 
us  to  think  that  they  were  perfectly  able  to  do  so  if  they 
could  get  a  price  that  would  pay  their  so  doing. 

This  piece  is  14J  inches  in  height.  The  mark  is  said  to 
he  "  Chow  Yuen  Tso  Choh,"  but  the  meaning  seems  doubtful ; 
the  first  two  characters  may  refer  to  the  dynasties  so  named, 
while  the  last  two  may  be  the  maker's  name.  "The  figures 
depicted  are  the  gods  of  Happiness,  Emolument,  Longevity. 
and  Felicity,  and  four  youthful  genii  attendants." 

Nos.  551,  552,  553  represent  a  cylindrical  (club  shaped) 
blue  and  white  vase.  Height,  18  inches.  No  mark.  One  of 
those  pieces  that  connoisseurs  set  great  store  by,— porcelain 

VOL.  II.  e 


320  KANG-HE. 

very  white,  with  deep  clear  blue  and  perfect  glaze.  There  can 
be  no  question  of  its  belonging  to  that  particular  period  of 
this  reign  when  the  blue  and  white  was  at  its  best,  but  the 
exact  date  unfortunately  it  is  impossible  to  fix,  probably  about 
1700.  On  the  neck  there  is  a  slight  collar  with  the  usual 
diaper  bands  painted  on  each  side. 

"This  represents  the  Emperor  Min  Hwang  of  the  T'ang 
dynasty,  and  the  Empress  Yang  Kwei-fei.  In  consequence 
of  a  rebellion  the  Imperial  city  was  besieged.  The  picture 
depicts  the  high  officials  discussing  the  situation  and  urging 
the  emperor  and  empress  to  fly  to  Hsi  Shu  for  a  time." 

For  an  account  of  this  emperor  see  No.  710.  This  is  the 
first  instance  we  have  met  of  the  "  club  shape,"  which  was  so 
much  used  during  this  reign. 

No.  oo4i.  Blue  and  white  bottle  with  bulb  mouth.  Height, 
17  inches.  No  mark.  As  seen  in  the  photograph,  the  decora- 
tion consists  of  a  Fung-hwang  in  the  midst  of  a  scroll  work 
of  conventionalized  fungus  with  pomegranates.  On  the  neck 
there  is  a  band  of  sweet  flag  leaves  with  flowered  triangle 
work  below.  This  latter  appears  again  at  top  on  the  bulb, 
with  a  key  band  and  row  of  joo-e  heads.  This,  like  the  last, 
is  an  exceptionally  good  piece. 

No.  555.  A  blue  and  white  beaker  vase.  Height,  18^ 
inches.  No  mark.  This  belongs  to  Mr.  Burman,  who  purchased 
it  in  Shanghai ;  the  paste,  colour,  and  drawing  are  excellent, 
all  showing  it  to  date  from  the  latter  half  of  this  reign ;  but 
what  attracts  attention  to  it  most  is  the,  so  to  speak,  absence 
of  glaze,  which  is  so  sparingly  applied  that  the  surface  has 
not  the  usual  vitreous  appearance  that  we  are  accustomed  to 
in  the  fine  blue  and  white  of  this  period.  The  absence  of 
glaze  on  these  fine  pieces  one  is  inclined  to  think  must  be 
intentional,  with  a  view,  perhaps,  to  making  them  somewhat 
resemble  the  ancient  wares.  Consulted  on  this  subject,  Mr. 
( 'has.  E.  Faull  writes  as  follows  : — 

"  The  slight,  or  short  glaze,  on  a  blue  and  white  piece  is 
not  at  all  unusual.  It  is,  perhaps,  not  intentional,  and  one 
sometimes  sees  a  piece  with  one  part  highly  glazed  and  the 
other  short.     All  these  pieces,  as  a  rule,  are  fine  in  colour." 

No.  556.  A  blue  and  white  lance-shaped  vase.  Height, 
IS  inches.     No  mark.     The  decoration  here  goes  right  round 


o 

CO 


o 


FOREIGN    INFLUENCE.  321 

the  piece,  and  consists  of  monsters  amongst  rocks  and  waves. 
Below  the  collar,  on  the  neck,  is  a  key  band  with  dots,  while 
above  is  a  band  of  curl  work  and  joo-e  heads,  This  also,  like 
No.  i)<j4,  is  a  very  fine  piece. 

Foreign  Influence. 

The  question  of  foreign  influence  in  Chinese  ceramic  art 
is  a  most  interesting  one.  It  naturally  divides  itself  into 
two  heads — Asiatic  and  European.  The  former  seems  to  be 
of  three  kinds — Buddhistic,  Mohammedan,  and  Japanese  or 
adjacent  countries.  Of  these  we  may  take  it  that  the  first 
is  the  oldest,  as  it  probably  came  from  India  with  that 
religion  early  in  the  Christian  era.  Mohammedanism  was 
introduced  into  China  in  the  thirteenth  century,  but  before 
that  date  trade  had  sprung  up  with  Mohammedan  countries, 
and  it  is  impossible  to  say  when  they  first  imposed  restrictions 
as  to  patterns  in  sending  their  orders.  Mr.  Hippisley,  p.  40L>, 
says :  "  As  has  been  remarked  earlier  (p.  280),  decoration  by 
painting  in  colours  as  distinct  from  the  general  colouring 
imparted  by  glaze  was,  I  believe,  first  reached  under  the  Ming 
dynasty.  In  the  Yunglo  period  it  took  the  form  of  decoration 
in  blue  under  the  glaze.  Special  attention  was  paid  to  this 
style  during  the  Hsuante  period."  Such  being  the  case, 
it  would  seem  that  as  far  as  the  decoration  was  concerned  there 
would  be  no  need  for  interference  prior  to  the  time  thus  indi- 
cated. Japan,  in  the  first  instance,  got  her  art  from  China 
during  the  fifth  century,  but,  as  now  known  to  us,  we  find  little 
trace  of  it  in  Chinese  porcelain.  In  the  Salting  collection 
there  are  one  or  two  large  plates  made  perhaps  in  imitation 21  of 

21  This  I  consider  rather  a  debatable  proposition.  I  am  more  inclined 
to  think  that  the  manufacturers  and  artists  took  all  their  ceramic  hints  and 
ideas  from  Chinese  methods,  and  that  so-called  "  Old  Japan  "  is  nothing  more 
than  a  Japanese  copy  of  an  earlier  Chinese  porcelain.  Especially  having 
regard  to  the  low  scale  of  colouring  in  the  Chinese  porcelain,  bine  under 
glaze  and  red.  One  must  not  lose  sight  of  the  fact  that  Gorodayu  Shonsui 
was  so  delighted  upon  visiting  China  to  have  secured  the  secret  of  making- 
blue  and  white  porcelain,  as  we  find  that  on  his  return  to  Japan  in  1513  a 
feAV  pieces  were  made  till  the  clay  he  brought  over  was  exhausted.  It  was 
only  at  the  end  of  the  sixteenth  century,  llisanpei,  a  Korean  potter,  discovered 
porcelain  clay  in  the  province  of  Hizen,  and  then  a  number  of  kilns  were 
established.     The  Dutch  at  Deshima  sent  enormous  quantities  of  tin's  Old 


322  FOREIGN    INFLUENCE. 

"  Old  Japan,"  evidently  belonging  to  the  Kang-he  period,  while 
now  and  again  we  come  across  a  panel,  as  in  the  vase  No.  624, 
perhaps  painted  by  a  Japanese  artist ;  later  on  we  find  dessert 
and  other  services  made  in  imitation  of  Irnari,  but  no  marked 
undercurrent  of  influence.  Corea  and  Siam  traded  with 
China  from  earlv  times,  and  we  here  and  there  meet  with 
pieces  made  for  these  markets. 

If  the  key  pattern  is  to  be  regarded  as  a  proof  of  European 
influence,  then  it  may  well  be  as  old,  or  older,  than  any  of  the 
others  already  named,  but  for  all  practical  purposes  we  may  be 
content  to  award  to  the  Jesuit  Fathers  the  honour  of  havina; 
been  the  first  to  bring  European  art  to  the  notice  of  the 
Chinese,  and  it  is  probable  that  some  of  the  so-called  Jesuit 
china  dates  back  to  Ming  times,  as  there  seems  to  have  been 
a  considerable  trade  in  it  with  Japan,  where  Christianity  at 
first  took  deep  hold.  Introduced  by  Francois  Zavier,  in  1549, 
it  spread  with  such  wonderful  rapidity  that,  combined  with 
the  political  ambition  of  the  Portuguese,  the  Japanese  Govern- 
ment took  alarm,  and  in  1G01  a  persecution  broke  out  which 
continued  with  more  or  less  severity  until  the  12th  of  April, 
1638,  when  Christianity  was  supposed  to  be  stamped  out  by 
the  massacre  of  thirty-seven  thousand  Christians  who  had  met 
for  mutual  protection  in  the  castle  of  Simabara,  on  the  coast 
of  Arima,  which  fell  after  a  siege  of  three  months.  3Iany  of 
the  Japanese  noblemen  had  become  converts,  and  it  was 
virtually  a  civil  war  that  ended  in  1640,  when  Japan  was 
finally  shut  up,  all  foreigners  being  expelled  with  the  excep- 
tion of  the  Dutch,  who  were  confined  on  the  little  island  of 
Desinra,  at  Nagasaki.  From  that  time  Japan  remained  closed 
to  the  rest  of  the  world  for  two  hundred  years,  but  it  is 
probable  that  between  1601  and  1638  a  considerable  trade 
was  done  in  china  decorated  with  biblical  subjects,  and  even 

Japan  to  Europe  from  the  middle  of  the  seventeenth  century.  The  shapes 
and  decoration  were  not  of  pure  Japanese  taste,  and  never  were  appreciated 
or  hardly  noticed  by  them  with  the  exception  of  the  Kakiyemon  porcelain, 
which  they  did  like  and  prize,  and  which  the  Dutch  could  not  get  in  any 
quantity  for  exportation.  I  fail  to  see  how  the  Japanese  exerted  any  influence 
upon  Chinese  ceramic  arts,  and  with  our  opportunities  and  knowledge  of 
to-day,  the  so-called  "Old  Japan,"  like  the  so-called  "  Hawthorn,"  is  some- 
thing of  a  misnomer,  and  should  preferably  be  termed  Old  Sinico-Japonico 
porcelain. — T.  J.  L. 


CO 

CO 


13 


OS 


UO 

o 


00 

no 


FOREIGN    INFLUENCE.  323 

after  1640  it  would  seem  that  this  "  Jesuit  china  "  was  smuggled 
into  Japan,  for  Fere  d'Entrecolles,  writing  in  1722,  says  : 
"  They  brought  me  from  the  rubbish  of  a  large  shop  a  little 
plate  which  I  value  beyond  the  finest  porcelain  piece  though 
a  thousand  years  old.  On  the  bottom  is  painted  a  crucifix 
between  the  Virgin  Mary  and  St.  John.  Formerly  they 
exported  (as  it's  said)  a  great  deal  of  this  sort  to  Japan,  but 
the  enemies  of  religion  have  hindered  any  of  it  being  made 
these  sixteen  years."  Most  of  the  Jesuit  china  that  we  meet 
with  belongs  to  the  Kang-he  or  later  periods,  so  must  have  been 
made  after  16-10,  and  no  doubt  there  was  a  demand  for  it  in  China 
itself,  apart  from  the  trade  with  Japan,  which  seems  to  have 
continued  for  some  sixty  years  after  Christianity  was  supposed 
to  have  been  rooted  out.  Who  the  "  enemies  of  religion ' 
were  that  stopped  its  production  we  are  not  told,  presumably 
the  Chinese  Government,  for  it  seems  clear  that  it  was  force 
and  not  mere  absence  of  demand  that  put  an  end  to  the 
manufacture  of  it. 

All  these  foreign  influences  seem  to  have  been  merely 
submitted  to  for  the  time  being,  unless  where,  as  in  the  case  of 
Buddhism,  it  sank  into  the  heart  of  the  people  and  had  come 
to  stay.  The  court  might  order  copies  of  French  enamels,  or 
foreign  countries  might  call  for  strange  shapes  and  designs, 
but  as  soon  as  the  fashion  changed  or  the  demand  ceased  the 
artisans  returned  to  the  old  paths  and  became  once  more 
delightfully  Chinese.  In  the  porcelain  made  for  home  use 
there  is  comparatively  little  trace  of  European  influence  to  be 
found ;  it  reached  them  through  their  pockets,  and  when  the 
inducement  ceased  they  had  done  with  it,  for  they  saw  nothing 
in  it  to  admire. 

In  No.  557  we  have  a  specimen  of  European  influence 
as  met  with  in  pieces  belonging  to  the  second  half  of  this 
reign.  A  blue  and  white  dish  with  scalloped  sides.  Diameter, 
10^  inches  ;  height,  lh  inch.  No  mark.  The  decoration 
on  the  sides  is  thoroughly  Chinese,  but  in  the  centre 
an  attempt  has  been  made  to  portray  three  European  ladies, 
with  a  male  attendant.  This  is  probably  a  copy  of  a  rough 
sketch  by  some  European  so  long  from  home  that  the  style 
of  ladies'  dress,  with  the  exception  of  the  high  head  gear,  had 
been  forgotten ;  the  colour  in  this  part  of  the  decoration  is  put 


324  KANG-HE. 

on  by  means  of  hatching,  instead  of  the  broad  washes  then 
current. 

Blue  and  White  with  Gilt. 

No.  558.  An  inverted  pear-shaped  vase  with  spreading 
base  and  narrow  bottle  neck.  Height,  Oh  inches.  Mark, 
leaf.  Here  the  paeony  sprays  are  on  six  fluted  lotus-shaped 
medallions,  and  what  marks  this  piece  out  from  the  general 
run  is  that  the  elephant  biscuit  handles  and  rings  are  gilded. 

Blue  and  White  with  Coffee  Glaze. 

Xo.  559.  A  globular  vase  with  cup  mouth.  Height,  TV 
inches.  Mark,  leaf  in  two  blue  rings.  The  body  is  divided 
into  twelve  fluted  compartments,  decorated  with  pa3ony  sprays 
and  a  joo-e  band.  This  piece  is  like  hundreds  of  others,  but 
it  serves  to  illustrate  a  particular  class,  as  on  the  collar  below 
the  cup  and  at  the  base  there  is  a  narrow  band  of  coffee  glaze 
of  a  rich  brown  hue. 

Blue  and  White  with  Bed  under  the  Glaze. 

Nos.  560,  561,  562.  A  blue  and  white,  with  red  under  the 
glaze,  beaker  vase.  Height,  l~h  inches.  Mark,  a  leaf. 
Except  where  the  figures  appear,  the  surface  of  this  piece  is 
ornamented  with  a  raised  lotus  and  fungus  scroll  pattern  that 
has  been  moulded  in  the  paste  before  the  baking.  On  the 
top  part  are  two  figures — one  holding  a  string  of  cash  to  a 
three-legged  toad,  the  other  with  a  crab.  On  the  bottom  part 
are  two  more  figures — one  with  a  lotus  flower  and  crab,  the 
other  with  a  whip  and  three-legged  toad.  The  triangle  diaper 
bands  are  in  blue,  the  red  appearing  in  the  dresses  of  the  men 
and  in  the  flower.  The  Chinese  character  for  longevity  is 
dotted  here  and  there  in  red  in  the  dresses  of  the  two  top 
figures.  Although;  not  of  fine  quality,  this  is  an  interesting 
old  piece. 

"  In  ancient  times  there  was  a  three-legged  toad  who  lived 
in  a  deep  pool,  and  was  able  to  expel  a  poisonous  exhalation 
which  injured  people.  Later  on  a  young  fairy,  named  Liu 
Hae,  hooked  it  with  a  gold  cash  and  destroyed  it.  This 
ancient  legend  is  taken  as  symbolical  of  modern  fact,  viz.  that 


FAMILLE    NOIRE. 


?  ~> 


J-O 


money  is  the  attraction  which  will  lure  men  to  their  destruc- 
tion. The  crab  with  its  sidelong  motion  is  symbolical  of  the 
crooked  ways  of  those  who  covet  money." 

Famille  Noire. 

Some  time  after  the  first  volume  was  published,  Mr.  Win- 
throp  wrote  as  follows,  kindly  sending  illustration  No.  563  : — 

"  I  have  lately  looked  through  your  book,  and,  as  you  your- 
self have  remarked,  you  seem  to  say  very  little  of  the  black 
Chinese  porcelain.  The  result  of  my  modest  experience  with 
such  wares  is  this  :  The  black  upon  the  glaze  (over  the  glaze, 
that  is  to  say)  would  be  best  exemplified  by  such  pieces  as 
that  in  the  Salting  collection  (see  ISo.  270),  where  rocks  and 
the  boughs  of  the  primus  appeared  upon  a  rather  mat  black 
ground. 

"  I  know  a  magnificent  piece  about  2  feet  high,  and  of  the 
beaker  vase  shape.  It  has  the  mark  of  the  Ming  period,  but 
is  considered  to  be  a  manufacture  of  the  Khang-hy  era. 

"  Bing,  at  Paris,  had  a  vase  of  almost  the  identical 
character  of  one  that  your  volume  depicts  on  p.  164.  It  had 
a  white  glazed  foot  without  mark.  An  examination  of  these 
vases  convinces  one  that  the  decoration  has  been  added  to 
a  perfectly  completed  white  vase,  the  decoration  being  first 
painted,  and  then  the  black  ground  filled  in.  The  black  is  a 
thin  and  rather  mat  enamel  entirely  without  substance,  and  in 
this  respect  resembles  the  iron  red  grounds  of  the  same  period. 
In  the  Bing's  example  the  edges  are  washed  with  a  delicate 
fawn  colour. 

"Many  of  these  black  grounded  pieces  have  a  decoration 
wavering  between  the  i  famille  verte '  and  the  '  famille  rose.' 

"  There  s  another  type  of  black  ground  Chinese  porcelain 
sufficiently  common.  In  these,  the  black  enamel  of  the  same 
characteristics  as  those  I  have  first  mentioned,  has  been  used 
to  cover  the  whole  piece,  and  upon  it  are  painted,  in  thick  and 
rather  muddy  colours,  flowers  and  butterflies.  These  pieces 
are  modern,  and  were  brought  back  to  England  as  specimens 
by  the  officers  on  the  China  station  about  the  middle  of  the 
nineteenth  century.  They  are  worthless.  I  know  of  only 
these  two  classes  of  over-glaze  black  Chinese  porcelains.     The 


326  KANG-HE. 

under-glaze  porcelains  are  also  divisible  into  two  classes  equally 
distinguishable  from  one  another. 

"I  have  two  pairs  of  jars  of  a  brilliant  black  under  the 
glaze,  with  scenes  of  horsemen  (such,  for  instance,  as  those  in 
the  centre  of  No.  313)  in  gilt  lines  (no  washes)  upon  one  pair, 
and  flowers  upon  the  other  pair.  No  mark,  except  the  double 
ring  in  blue  under  the  foot.  One  pair  is  of  slender  open 
beaker  vases,  while  the  others  are  the  ordinary  covered  (No. 
563)  'potiches'  (these  last  being  those  decorated  with  the 
horsemen  in  the  Tartar  dress).  The  beaker  vases  are  perhaps 
17  inches  high,  and  the  jars  15  inches.  I  have  always  con- 
sidered them  to  be  of  about  Khang-hy  date,  and  bought  the 
four  (which  are  absolutely  perfect  in  condition)  at  a  country 
sale  about  twenty-two  years  ago,  for,  I  should  say,  about  £35. 

"  My  set  of  black  potiches  and  beaker  vases  would  typify 
one  class — the  '  mirror  blocks '  referred  to  by  Mr.  Monkkouse 
as  belonging  to  the  Khang-hy  era.  The  vessels  have  been 
treated  with  a  covering  of  black  upon  the  biscuit.  The  insides 
of  the  covers  of  the  potiches,  the  insides  of  the  collar  on  which 
the  cover  rests,  the  flat  surfaces  under  the  foot,  and  the  insides 
of  the  lips  of  the  beaker  vases,  are  all  finished  neatly  in  white. 

"  I  have  a  magnificent  '  Old  Green '  plate,  14  inches  dia- 
meter, with  a  similar  hunting  scene,  in  coloured  enamel — the 
banners  of  a  thin  pale  yellow  enamel,  and  the  green  in  places 
quite  bossed  up,  so  as  to  give  it  great  intensity.  It  will  be 
noticed  that  the  '  late  Ming '  (Khang-hy)  enamelled  porcelains, 
in  their  decorations  of  polychrome  character,  introduce  a  mat 
black  precisely  like  the  black  ground  of  Mr.  Salting's  vase. 
This  I  mention  in  parenthesis,  as  I  observe  it  at  this  moment 
upon  a  large  Khang-hy  plate  at  my  elbow.  Now,  there  is  a 
different  under-glaze  black  type.  It  is  of-  the  Kien-lung 
period.  At  a  house  that  I  visit,  I  see  a  fine  specimen  of  this 
in  a  large  open-mouthed  bottle,  say  12  inches  high.  It  has 
no  decoration  whatever.  The  open  mouth  is  white  inside,  and 
under  the  foot  is  equally  white  with  the  usual  Kien-lung 
square  mark,  in  dark  blue  under  the  glaze.  It  is  a  brilliant 
piece,  and  it  has  a  companion  almost  precisely  similar,  only  a 
dark  brilliant  turquoise.  The  black  upon  the  black  vase  of  this 
type  is  intense  ;  it  is  brought  up  to  the  lip,  but,  of  course,  does 
not  finish  in  an  exact  line.     The  black  there  deteriorates  for  the 


503. 


[To  face  2?.  326. 


FAMILLE   NOIRE.  3V 

width  of  Jgth  of  an  inch,  but  it  is  always  black  turning  into 
white  through  gray.  In  my  potiches  and  beaker  vases,  where 
the  black  finishes  on  the  edge  in  this  way,  it  deteriorates  into 
brown,  and  turns  into  white  through  a  Vandyke  brown, 
showing  that  the  black  upon  the  two  types  is  of  a  different 
pigment.  But  the  body  of  my  yases  has  as  intense  a  black 
effect  as  that  upon  the  Kien-lung  bottle.  This  last  is  of  a 
beautiful  and  fine  porcelain  composition,  and  is  much  admired 
by  artists. 

"  In  Eome  last  winter  I  was  shown,  by  a  celebrated  painter, 
a  black  under- glaze  bottle  with  chrysanthemums  all  over  it, 
about  11  inches  high— white  within  the  lip— but  I  did  not 
examine  the  foot  to  see  if  it  were  marked. 

"  It  resembled  my  potiches,  and  was  a  brilliant  piece. 

"  Of  course  this  type  imitates  black  lacquer,  but  no 
lacquer  is  capable  of  the  brilliancy  of  these  specimens  of 
porcelain.22 

"  The  two  classes  of  i  black  over  and  under  the  glaze ' 
should  be  not  only  kept  distinct,  but  also  the  divisions  of  those 
classes,  especially  in  the  latter,  where  one  division,  as  repre- 
sented by  my  potiches  and  beaker  vases,  is  so  plainly  intended 
to  imitate  black  lacquer  work,  produced  by  some  pigment 
deteriorating  into  Vandyke  brown,  and  the  other  division, 
doubtless  designed  to  resemble  a  block  of  jet,  produced  by 
absolute  black. 

"The  first  division  is  doubtless  of  about  the  Ivhang-hy 
period,  and  the  last  of  the  later  date  of  Kien-lung,  being  so 
marked.  As  for  the  over-glaze  blacks,  they  are  distinctly  a 
division  of  the  '  Old  Greens,'  and  I  have  never  seen  or  heard  of 
such  wares  bearing  any  other  decoration  than  the  flowered 
designs  common  to  the  old  greens.  It  is,  however,  a  fact  that 
there  are  in  existence  statuettes  finished  (as  to  their  clothes 
and  perhaps  their  stands)  in  this  over-glaze  black,  but  I  rack 
my  brains  in  vain  to  remember  where  I  have  seen  them.  They 
would  be  of  the  same  date  as  the  vases,  and  are  probably 
very  uncommon.  I  think  that  probably  I  have  seen  them 
in  one  of  the  private  houses  where  I  have  visited  at  the 
Hague. 

22  These  black  porcelains,  called  mirror  blacks,  arc  by  no  means  so 
costly  as  those  of  the  greenish  black  type.— T,  J.  L. 

VOL.  II.  E  2 


^ 


28  KANG-HE. 


"  Some  mention  should  also  be  made  of  pieces,  such  as  you 
allude  to  on  p.  237,  so-called  Siamese ; 23  they  are  of  various 
dates,  and  analogous  to  them  are  the  porcelains  with  black 
over  the  glaze  grounds,  manufactured  by  the  Chinese  for 
markets  in  Persia  or  India.  Of  these  last  you  make  no  mention ; 
they  are  rare,  but  they  exist.  I  think  they  are  classed  by 
Jacquemart  as  '  Japanese,'  but  they  are  Chinese  all  the  same, 
and  no  hard  paste  porcelain  has  ever  been  manufactured  in 
Persia,  or  indeed  porcelain  of  any  description,  although  a  sort 
of  semi-translucent  faience  made  in  Persia  has  been  sometimes 
erroneously  classed  as  porcelain. 

"  I  myself  have  once  or  twice  been  offered  in  Paris  pieces 
of  fine  porcelain  decorated  with  fine  '  rinceaur  '  and  leaves  in 
green  and  pale  yellow  enamel  on  an  over- glaze  black  ground. 
These  could  not  have  been  later  than  Kien-lung,  and  were 
probably  earlier.  These  were  Chinese  pieces  made  for  the 
Persian  market." 

Pere  d'Entrecolles  says  :  "  Black  porcelain  has  also  its  value 
and  beauty,  and  is  called  U-mycn.  This  black  is  of  a  lead 
kind,  resembling  that  of  our  burning-glasses,  and  the  gold 
they  add  makes  it  yet  more  agreeable.  The  black  colour  is 
laid  on  the  china  when  it  is  dry,  and  for  this  purpose  they  mix 
three  ounces  of  azure  with  seven  of  common  oil  of  stone.  By 
the  trial  one  may  know  exactly  the  proportion,  according  as 
the  colour  is  to  be  more  or  less  deep ;  when  it  is  dry,  they 
take  the  ware,  after  which  they  apply  the  gold,  and  bake  it 
over  again  in  a  particular  furnace.',  Whether  this  is  the  same 
as  the  black  he  refers  to  as  TJ-hing  (see  p.  361),  it  is  difficult 
to  say ;  but  it  is  clear  that  more  than  one  brilliant  black  glaze 
was  made  during  the  Kang-he  period. 

At  a  later  date,  Mr.  Winthrop,  again  referring  to  No.  563, 
writes  :  "  To  return  to  the  Walter's  collection  of  porcelain,  my 
black  vases  have  nothing  in  common  with  the  Kien-lunof  black 
vases  except  the  colour.  Again  the  Kien-lung  turquoise 
porcelains  differ  from  those  of  Kang-he  in  that  their  colour  is 
more  vivid  and  more  the  colour  of  the  Mexican  turquoise  in 

23  These  Siamese  pieces  are  now  considered  to  have  "been  made  in  Xorth 
Siam.  They  are  very  coarse  in  their  texture  when  fractured,  and  therefore 
unlike  most  Chinese  ware ;  but  still  they  have  a  Chinese  feeling  about  them. 
— T.  J.  L. 


564. 


[To  face  p.  329. 


FAMILLE  VERTE.  3^9 

vogue  at  present,  I  have  been  reminded  of  tins  lately,  and 
have  had  the  distinction  strongly  marked." 

Mr.  Hippisley,  at  p.  440,  says  :  "  Black  grounds  are  produced 
in  a  variety  of  ways  either  by  the  thickness  of  the  coloured 
glaze  or  by  laying  several  shades  of  different  colour  one  on  the 
other ;  or,  again,  by  laying  a  blue  glaze  on  a  brown  laque,  or 
vice  versa."  Referring  to  this  method  of  producing  a  black 
surface,  Mr.  "Winthrop  writes :  "  I  have  just  been  shown  a  few 
pieces  of  remarkably  fine  old  Chinese,  one  of  them  being  a 
black  vase  without  any  decoration  whatever.  The  form  is 
pretty  good,  and  upon  a  very  close  inspection  it  is  found 
that  it  is  a  blue  so  intense  that  it  looks  black,  and  the  real 
colour  can  only  be  seen  just  the  least  bit  around  the  mouth 
and  foot,  where  the  colour  has  run  thin.  It  is  doubtless  a 
Kien-lung  piece,  and  I  have  never  seen  one  like  it." 

The  following  very  interesting  piece  belongs  to  Mr.  G.  R. 
Davies. 

No.  564.  "  Exhibited  Burlington  Fine  Arts  Club,  1896. 
Description,  383  and  384.  A  white  ground  beaker,  one  of  a 
pair,  17  inches  in  height.  It  is  covered  all  over  with  a  brownish 
black  enamel,  leaving  white  spaces  which  form  rocks,  out  of 
which  run  stalks  of  the  prunus  tree  to  which  are  attached 
small  branches.  From  these  hang  clusters  of  buds  and  flowers 
of  the  prunus,  and  on  one  or  two  places  between  the  rocks 
a  small  chrysanthemum  appears.  The  rocks  and  stalks  are 
shaded  with  the  same  brownish  black,  and  the  petals  of  the 
flowers  are  depicted  in  the  same  colouring. 

"  One  of  these  beakers  was  sent  to  me  from  China  nearly 
twenty  years  ago,  and  the  other  I  found  in  London  some  two 
or  three  years  subsequently  in  the  hands  of  a  dealer  who  was 
much  in  touch  at  that  time  with  a  French  importer.  Un- 
fortunately, they  are  not  marked,  and  are  difficult  pieces  to 
put  an  exact  date  to,  but  I  am  inclined  myself  to  attribute 
them  to  the  later  portion  of  the  Kang-he  era." 

We  must  now,  as  it  were,  go  back  and  continue  on  the 

Famille  Verte  with  Blue  Enamel. 

To  begin  with,  we  will  take  four  excellent  specimens 
belonging  to  Mr.  G.  R.  Davies. 

]STo.   56o.  « Exhibited  Burlington   Fine   Arts  Club,  1896;. 


v,o  KANG-HE. 


OJ 


Description,  No.  17.  An  upright,  high-shouldered,  cylindrical 
white  vase  with  neck  expanding  to  the  lip ;  abont  a  quarter  of 
an  inch  below  this  is  a  scroll  band  in  green  and  black,  the  neck 
being  covered  with  sprays  of  paeonies  and  other  flowers.  Bound 
the  shoulder  is  a  diaper  band  with  four  white  reserves  or  panels, 
in  which  are  butterflies  and  insects.  The  whole  of  the  body  of 
the  vase  is  covered  with  branches  of  the  prunus  tree,  in 
aubergine,  springing  from  a  boldly  drawn  trunk.  The  branches 
of  the  tree  are  covered  with  blossom  in  blue,  pale  green,  red, 
and  yellow,  amongst  which  are  many  birds  in  blue,  green, 
black,  yellow,  and  aubergine  plumage.  From  the  base  spring 
several  bamboo  stems,  which  are  interlaced  amongst  the  flowers 
and  branches  of  the  prunus,  while  a  bird  is  alighting  with 
outstretched  wings  on  a  rock  partly  covered  with  flowers  and 
folia 2;e.  The  drawing:  and  decoration  is  bold  and  free,  and 
much  resembles  that  on  the  black  ground  vases  covered  with 
coloured  enamels,  so  finely  represented  in  the  Salting  collection 
at  the  South  Kensington  Museum.  They  belong  to  the  early 
period  of  the  Kang-he  era,  1661-17 '22,  and  this  vase  is 
undoubtedly  a  specimen  of  the  early  portion  of  that  epoch. 
This  vase  was  purchased  by  the  owner  in  China,  in  1879. 
Height,  18^  inches. 

Xo.    566.    "  An   oviform   white   vase   with   longish   neck, 

gradually  sloping  outwards  at  the  top  to  form  the  rim  or  mouth. 

Height,  18 k  inches.     The  neck  is  covered  with  a  landscape  of 

lake  scenery  with  fishing-boat  and  mountains  in  the  distance, 

in  subdued  colourings  of  aubergine,  green,  black,  etc.     On  the 

shoulder  first  comes  a  narrow  band  of  yellow  between  black 

lines,  then  a  border  on  aubergine  ground  covered  with  a  scroll 

design  in  black,  with  four  white  reserves,  surrounded  by  a  pale 

blue  line,  in  which  are  gracefully  drawn  sprays  of  bamboo  in 

black.      Between  each  of  these  four  reserves  is  a  red  flower  on 

the  aubergine  and  black  scroll-ground ;   this  is  followed  by 

another   narrow   line  of    yellow   between   black   lines.      The 

decoration  on  the  body  of  this  vase  consists  of  waves  towards 

the  base,  amidst  which  is  a  boat  with  two  female  goddesses  and 

fisherman.      At  the  brink  of  the  water  is  a  large   crowd  of 

figures,  two  horsemen  coming  round  the  corner  from  among 

trees  and  mountain  scenery.     Towards  the  shoulder,  amongst 

the  hills,  are  seated  a  party  of  four,  either  eating  or  playing 


FAMILLE   VERTE.  3^1 


some  game  like  gobang,  and  following  on  the  same  line  further 
round  the  vase  is  another  figure  and  attendant,  evidently  some 
divinity  or  god,  who  is  seated  on  clouds  watching  the  proceed- 
ings. The  enamels  on  this  vase  are  extremely  brilliant, 
consisting  of  black,  green,  yellow,  red,  purple,  and  aubergine, 
and  as  the  caps  and  headdresses  of  nearly  every  figure  in  the 
crowd  are  black,  and  the  legs  and  boots  too,  as  well  as  the 
umbrellas,  the  general  effect  is  most  striking.  No  mark,  but 
without  any  possible  doubt  a  fine  example  of  the  Kang-he 
period,  1661-1722.  There  are  forty-five  figures  on  this  vase, 
and  the  subject,  I  have  been  told,  represents  the  people  soliciting 
the  gods  for  more  money  to  build  the  Low-Yan-Tow,  i.e.  the 
large  stone  bridge  across  the  river  at  Foochow,  which  is  of 
ancient  date.     Sent  to  me  from  China  by  Mr.  Arbuthnot." 

The  following  is  the  account  the  Zenana  ladies  give  of  this 
motive  : — 

"  In  the  Black  Dragon  pool  of  the  Ch'ien  T'ang  river,  there 
lived  in  ancient  times  a  fierce  dragon,  who  had  power  to  stir 
up  the  waves  and  injure  passing  boats.  The  officials  were 
accustomed  year  by  year  to  go  to  the  spot  and  cast  youug 
children  into  the  pool,  hoping  thus  to  appease  the  monster. 
This  is  the  scene  represented." 

Mayers,  p.  55 :  "  In  the  reign  of  Wen  How  of  Wei,  B.C. 
424,  Si-men  Pao  was  governor  of  Yeh,  and  on  taking  office, 
learnt  that  what  the  people  chiefly  suffered  from  in  his  district 
was  the  practice  of  annually  *  giving  a  wife  in  marriage  to  the 
river-god.'  The  ruling  elders  were  accustomed  every  year  to 
levy  enormous  sums  from  the  people  under  this  pretence,  and 
in  consort  with  the  soothsavers,  male  and  female,  to  select  a  well- 
favoured  maiden,  who,  after  a  period  of  sacrificial  orgies,  was 
richly  attired  as  a  bride  and  cast  into  the  river  to  meet  the 
embraces  of  the  god.  Si-men  Pao  put  an  end  to  this  sinister 
practice,  by  casting  the  chief  priestess  and  some  of  her 
associates  into  the  river  when  the  time  next  set  apart  for  the 
ceremony  came  round." 

No.  567.  "  A  cylindrical  white  vase,  with  sloping  shoulder 
and  neck  running  up  to  lip,  which  abruptly  becomes  larger 
before  forming  the  rim.  Height,  19  inches.  Commonly  known  as 
club  shape.  Around  the  neck  are  four  bands,  the  upper  consist- 
ing of  palm  leaves  in  various  coloured  enamels,  resting  on  a 


33^  KANG-HE. 

narrow  scroll  border  of  green  and  black ;  then  conies  a  white 
collar,  and  below,  a  band  of  key  design  in  green  and  black, 
followed  bv  another  band  of  ioo-e  heads  in  various  colourings. 
Following  this  on  the  white  are  small  dots  of  red  and  green. 
The  shoulder  is  surmounted  with  a  broad  band  in  various 
colourings  of  large  diaper  design,  amongst  which  are  four  white 
reserves  with  blue  borders  containing*  flowers  in  colours.  There 
is  a  white  band  round  the  base,  above  which  is  a  broad  band  of  a 
fancy  design  in  green  and  yellow.  From  this  the  decoration 
commences.  The  body  of  the  vase  is  boldly  painted  with  a  large 
trunk  of  a  tree,  in  aubergine  and  black,  on  which  are  seated  two 
birds  in  brown  enamel  shaded  with  black,  red  on  shoulders  and 
blue  wings  and  tails  ;  the  large  sprays  with  leaves  between  the 
birds  are  entirely  in  red,  with  rocks,  foliage,  and  flowers  all  in  a 
bold  design  and  in  various  coloured  enamels,  with  a  grasshopper 
in  red  on  one  of  the  stems,  and  butterfly  and  dragon-fly  in  mid- 
air. The  whole  decoration  of  this  vase  is  carried  out  in  a  bold, 
striking  manner,  and  is  very  effective,  and  the  enamels  arc 
bright  and  in  good  preservation. 

"  This  vase  was  sent  to  the  owner  direct  from  China  by  Mr. 
Arbuthnot,  as  a  good  example  of  the  Kang-he  era,  1661-1722  ; 
but  it  is  not  in  his  opinion  of  so  early  a  date  in  that  reign  as 
No.  060,  which  probably  precedes  it  by  some  few  years." 

Xo.  568.  "Fancy  oviform  white  vase.  Height,  17^  inches. 
With  somewhat  similar  lip  to  No.  565,  except  that  it  is  flat  at 
the  top  and  nearly  §  of  an  inch  in  width.  On  this  is  a 
scroll  design  in  red.  The  rim  shows  a  narrow  line  of  white, 
followed  by  a  band  of  aubergine  and  black,  in  a  sort  of  honey- 
comb design.  On  the  neck  is  lake  and  mountain  scenery,  with 
a  sampan  and  fisherman — the  colourings  aubergine  and  several 
shades  of  green,  with  a  few  verv  small  flecks  of  vellow  on  the 
sampan  and  pavilion.  On  the  shoulder  is  another  band  of 
octagon  and  square  work,  entirely  in  dullish  red.  At  the  base 
a  narrow  rim  of  white,  above  which  is  a  trellis-work  border  of 
red  between  double  red  lines.  The  body  of  the  vase  is  deco- 
rated with  a  landscape,  consisting  of  mountain  scenery,  trees, 
houses,  and  bridges.  There  are  two  mounted  figures,  followed 
by  a  boy  carrying  umbrella,  and  following  him  are  three  other 
figures.  On  the  centre  of  the  vase  are  two  other  figures 
looking  at  a  lake  scene.     The  prevailing  colours  of  this  vase 


5G8. 


[To  face  p.  332. 


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FAMILLE   VERTE.  333 

are  various  greens,  with  a  good  deal  of  aubergine ;  yellow  and 
red  is  most  sparingly  used,  and  so  is  black.  Only  the  caps  on 
four  of  the  figures  and  a  few  etched  strokes  on  the  trees  and 
rocks  are  of  this  colour,  and  purple  is  entirely  absent.  The 
white  is  very  pure,  and  covered  with  a  fine  glaze.  The  general 
effect  of  this  vase  is  peculiarly  subdued  and  refined,  and  this 
has  evidently  been  the  aim  of  the  artist.  The  enamels  are 
brilliant,  and  all  the  details  of  the  drawing  most  carefully 
carried  out.  It  is  a  fine,  and  at  the  same  time  interesting, 
piece  of  the  Kang-he  era,  and  bears  the  six  character-marks  of 
that  reio-ii  on  the  base.  Sent  direct  to  me  from  China  bv 
Mr.  Arbuthnot. 

"  This  represents  Wang  Wei  escorting  Yuen  Jen,  who  is 
on  his  way  to  take  up  the  seals  of  office." 

Mayers,  p.  248  :  " Wang  Wei  (a.d.  699-759),  one  of  the 
foremost  among  the  poets  of  the  T'ang  dynasty,  and  celebrated 
also  as  a  scholar  and  artist."  This  motive  probably  refers  to 
the  celebrated  lines  by  Wang  Wei,  "  in  bidding  adieu  to  Meng 
Hao-jan  when  the  latter  was  seeking  refuge  on  the  mountains ' 
(see  "  Chinese  Literature,"  p.  150) : — 

"  Dismounted,  o'er  wine 

We  had  said  our  last  say  ; 
Then  I  whispered,  '  Dear  friend, 

Tell  me,  whither  away  ?  ' 
<  Alas  ! '  he  replied, 

'  I  am  sick  of  life's  ills. 
And  I  long  for  repose 

On  slumbering  hills. 
But  oh,  seek  not  to  pierce 

AVhere  my  footsteps  may  stray ; 
The  white  clouds  will  soothe  me 

For  ever  and  ay.'  " 

Nos.  569,  570,  571,  572,  represent  four  club  vases,  taken 
from  an  old  photograph  kindly  sent  by  Mr.  Winthrop,  who 
unfortunately  seems  unable  to  supply  any  particulars,  but  they 
are  admirable  specimens  of  what  was  turned  out  about  this 
period.  The  shortest  of  the  four  is  probably  over  18  inches 
in  height. 

With  regard  to  the  scenes  depicted  on  these  vases,  the 
photograph   has,   unfortunately,   been   returned   from    China 


3 


34  KANG-HE. 


with  the  following  remark  :  "  These,  as  at  present  photographed, 
cannot  be  recognized." 

No.  573.  Dish.  Diameter,  14  inches ;  height,  2^  inches. 
No  mark.  Brown  everted  edsre.  Here  the  decoration  consists 
solely  of  pEeonies  and  grasses,  with  two  birds  and  a  number  of 
insects  surmounted  by  a  gilt  sun.  The  flowers  are  boldly 
drawn  and  effectively  coloured  in  red,  aubergine,  and  purple ; 
the  large  bud  near  the  middle  is  in  gilt,  those  at  the  top  in 
red.     The  rocks  are  in  green,  with  a  little  blue  enamel. 

"  Grass  in  abundance  is  supposed  to  represent  the  people." 

No.  574.  Octagon  jar  (cover  wanting).  Height,  12|  inches. 
No  mark.  Rounded  stand  but  unglazed  base.  This  jar  is  made 
of  thick  heavy  porcelain,  but  is  pleasingly  decorated.  From 
eight  green  and  aubergine  rocks  spring  eight  aubergine  trunks, 
ornamented  with  red,  blue,  and  yellow  flowers,  with  green 
foliage.  The  primus  spray,  as  seen  in  the  illustration,  has 
blossoms  in  light  green  and  blue.  We  find  this  pattern  in 
blue  and  white.  It  seems  akin  to  the  old  Japan  connected 
with  the  name  of  Kakiyemon.* 

No.  575.  Dish,  with  groove  stand.  Diameter,  13|  inches ; 
height,  2h  inches.  Mark,  a  symbol  with  fillets,  perhaps  the 
shell,  in  two  blue  rings.  The  decoration  is  in  green  and 
aubergine,  with  very  little  red,  and  represents  the  hi-lin,  or 
some  other  fabulous  animal,  careering  on  the  top  of  the  waves. 
The  sun  and  sky  are  indicated  in  very  faint  red.  The  under 
part  of  the  body  and  chest  of  the  animal  are  striped  with  red, 
with  a  little  on  the  lower  jaw.  The  band  at  the  rim  is  in 
aubergine  and  green,  three  of  the  mangs  being  in  red,  the 
other  three  in  aubergine.  Except  the  hair  on  the  tail  and 
head,  which  is  in  an  almost  dull  slate  colour,  there  is  no  blue 
on  this  dish. 

No.  576.  Dish.  Blue  enamel ;  groove  stand.  Diameter, 
13|  inches;  height,  2|  inches.  Mark,  leaf  in  two  blue  rings. 
At  back,  eight  red  conventionalized  lotus  flowers  with  green 
foliage.  The  pattern  is  by  no  means  uncommon,  and  as  usual 
the  quality  varies  greatly,  some  being  much  finer  than  others. 
The  decoration  in  this  instance  is  marked  off  in  red,  the  sides 
beino-  broken  into  four  by  diaper  bands,  between  which  the 
four  seasons  are  represented  by  flowers  in  red,  blue,  yellow, 

*  Sec  note  21. 


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577. 


[To  face  p.  335. 


FAMILLE   VERTE.  335 

and  aubergine,  the  rocks  being  in  green,  blue,  and  aubergine. 
In  the  centre,  from  a  hollow  green  rock,  spring  red,  blue,  and 
yellow  chrysanthemums,  the  stems  being  in  aubergine ;  the 
magnolia  spray  in  the  middle  has  white  and  blue  buds.  The 
green  is  in  two  shades. 

No.  577.  Dish.  Diameter,  15^  inches  ;  height,  2J  inches. 
No  mark.  The  back  is  left  quite  plain.  This  is  a  very  good 
example  of  pretty  early  famille  verte  with  blue  enamel. 
Marked  off  by  black  lines,  the  border  consists  of  two  diapers 
used  alternately  in  six  spaces  between  the  reserves,  and  it  will 
be  noticed  that  one  of  these  is  an  early  version  of  the  octagon 
and  square  pattern.  The  enamels  are  put  on  in  very  wide 
washes,  giving  a  bold  and  highly  decorative  effect.  The  roof 
at  the  back  is  in  a  purple  shade  of  aubergine,  all  the  enamels 
employed  being  good  in  quality  and  very  transparent,  so  that 
the  black  in  which  the  design  was  sketched  shows  through, 
which  is  the  only  attempt  at  shading,  unless  it  be  at  the  folds 
of  the  ladies'  skirts.  The  figure  at  the  back  is  all  in  blue  ;  that 
on  the  ground  is  yellow  with  red  waistband.  The  ladies,  both 
in  green — the  taller  with  yellow  skirt,  and  red  at  neck,  blue  at 
wrists  ;  the  shorter  has  a  red  skirt  and  waistband,  yellow  sleeves 
with  green  cuffs. 

"  This  is  said  to  represent  a  scene  of  long  ago,  during  a 
series  of  services  for  the  release  of  souls  from  purgatory  at  the 
temple  of  the  Water  Moon,  when  a  Buddhist  priest  insulted 
some  female  worshippers.  They  are  here  seen  leaving,  after 
giving  him  a  well-deserved  beating." 

No.  578.  Dish.  Diameter,  14J  inches ;  height,  2}  inches. 
Brown  edge.  Mark,  two  blue  rings.  Here  again  the  decoration 
is  marked  off  by  black  circles.  The  green  speckled  work  border 
is  powdered  with  white  primus  and  red  and  white  peach  bloom 
in  three  of  the  spaces,  and  white  and  reel  asters  or  chrysanthe- 
mums in  the  other  three,  the  reserves  being  marked  off  by 
yellow  and  green  bands,  and  decorated  alternately  with  lotus 
and  peach.  In  the  centre  the  colouring,  with  the  exception 
of  the  green  rocks,  is  chiefly  in  aubergine  and  red,  with 
very  little  blue  enamel.  The  two  horses  to  the  front  are  in 
aubergine,  the  one  to  the  back  in  red.  Yellow  is  used  freely 
in  the  dresses  and  umbrella,  but  is  of  a  dull  shade.  This  is 
one  of  the  cases  where  aubergine  is  largely  used,  and  plays 

VOL.  II.  F 


336  KANG-HE. 

a  prominent  part   in   the   decoration,  the   effect   being  very 
pleasing. 

"  King  Chow  of  the  Shang  dynasty  was  a  bad,  unprincipled 
man,  and  oppressed  his  subjects.  King  Woo,  a  former  minister 
of  his,  raised  troops  to  fight  against  him,  and  was  met  by  two 
brothers,  who  remonstrated  with  him,  saying,  'A  minister 
should  not  raise  troops  to  fight  against  a  king ; '  but  Woo, 
wishing  to  deliver  the  people  from  their  opjiression,  persisted 
in  his  purpose,  and  deposed  Chow.  Afterwards  the  two  brothers 
above  mentioned  were  ashamed  to  eat  the  bread  of  King  Woo, 
and  died  of  starvation  on  the  Sieng  Yong  mountain.  The 
picture  represents  the  two  brothers  remonstrating  with  King 
Woo." 

Chow  Sin  was  the  last  of  the  Shang,  or  Yin  dynasty,  and 
seems  to  have  been  deposed  by  Wu,  the  founder  of  the  Chow 
dynasty?  1122  B.C.     At  p.  169,  Mayers  gives  the  names  of  the 
two  brothers  referred  to,  Peh  I.  and  Shuh  Ts'i,  and  says  they 
"  flourished,  according  to  legendary  history,  toward  the  close  of 
the  twelfth  century  B.C.,  in  the  small  state  of  Ku  Chuh  "  (form- 
ing part  of  modern  Chih-li),  "  of  which  their  father  was  prince. 
The  prince  desired  to  make  the  younger  brother,  Shuh  Ts'i, 
his  successor  ;  but  the  latter  refused  to  deprive  the  firstborn  of 
his  heritage,  and  on  his  father's  death  fled  from  the  princi- 
pality,  after   vainly   endeavouring   to   induce   his  brother  to 
accept  the  heirship.    Peh  I.,  declaring  he  would  not  run  counter 
to  his  father's  will,  also  withdrew ;  and,  leaving  the  throne  to 
a  third  brother,  retired  with  Shuh  Ts'i  to  a  life  of  obscurity. 
The  brothers  emerged  from  their  retreat  in  their  old  age  to 
seek  an  abiding-place  with  Ch'ang,  the  chief  of  the  West ;  but, 
on  reaching  his  domain,  they  found  that  his  death  had  taken 
place,  and  that  his  son,  having  overthrown  the  dynasty  of  Yin, 
was   proclaimed   emperor.      Deeply  grieved,  and  refusing  to 
change  their  allegiance,  they  declared  they  would  not  support 
their  life  on  the  '  grain  of  Chow,'  and  retiring  into  the  re- 
cesses of  Mount  Show  Yong,  they  subsisted  for  a  time  by  gather- 
in  o-  wild  seeds.     Both  Confucius  and  Mencius  extolled  their 
steadfast  purity  of  mind." 

No.  579.  Dish.  Diameter,  14f  inches ;  height,  2J  inches. 
Mark,  fungus  in  two  blue  circles.  The  diaper  band  is  marked 
off  by  one  Indian-ink  line  at  edge,  and  double  ditto  inside. 


578. 


579. 


[To  face  p.  336. 


FAMILLE   VERTE.  337 

The  eight  reserves  are  filled  with  symbols,  the  diapers  being 
in  four  patterns,  those  alike  facing  each  other ;  in  two  of  the 
designs  it  will  be  noticed  the  swastika  has  been  introduced. 
The  motive  in  the  centre  represents  the  Seven  Worthies  of 
the  Bamboo-grove,  with  four  attendants. 

Anderson,  p.  231:  "The  Seven  Worthies  of  the  Bamboo- 
grove  were  a  famous  club  of  learned  men  in  the  third  century, 
whose  meetings  were  held  in  a  grove  of  bamboos.  According  to 
Thornton  ('  History  of  China,'  vol.  i.  p.  416),  these  men  effected 
much  evil  in  China  by  their  pernicious  tenets  and  example. 
*  They  disregarded  and  decried  all  laws  and  ceremonies,  and 
professed  a  base  kind  of  Epicureanism,  pretending  that  human 
happiness  consisted  in  a  complete  emancipation  from  all  cares 
and  distractions  of  life,  and  in  unrestrained  indulgence  in  wine/ 
There  are  few  subjects  more  frequently  represented  than  this 
by  the  painters  of  the  older  schools." 

Mayers,  p.  27 :  "  Chuh  Lin  Ts'i  Hien.  The  club  of  the 
Seven  Worthies  of  the  Bamboo-grove  —  an  association  of 
convivial  men  of  letters,  circa  A.D.  275,  who  were  accustomed 
to  meet  for  learned  discussions  and  jovial  relaxation  in  a  grove 
of  bamboos."  The  same  writer  gives  their  names  as  follows  : 
P.  51 :  "  Hiang  Siu ;  "  no  particulars.  P.  78  :  "  Ki  K'ang, 
A.D.  223-262.  A  celebrated  functionary  and  man  of  letters, 
but  equally  renowned  as  a  lover  of  the  wine-cup  and  a 
musician.  He  was  at  the  same  time  an  ardent  devotee  of  the 
study  of  alchemy,  which  he  practised  under  a  willow-tree.  The 
willow  is  frequently  referred  to,  in  consequence,  as  sacred  to 
this  pursuit.  Incurring  the  displeasure  of  Sze-ma  Chao,  chief 
minister  of  the  last  sovereign  of  the  house  of  Wei,  he  was 
executed  as  a  propagator  of  magic  arts  and  heretical  doctrines. 
His  coolness  and  contempt  for  death  were  manifest,  as  he 
walked  to  the  place  of  execution,  by  his  tuning  his  guitar  in 
his  last  moments."  This  no  doubt  is  the  figure  we  see  seated 
on  the  carpet  with  a  lute  on  his  knees.  P.  132 :  "  Liu  Ling, 
a.d.  265-280.  One  of  the  renowned  fraternity  of  poets  and 
wine-bibbers.  He  in  particular  was  wholly  devoted  to  joviality, 
and  is  reported  to  have  uttered  the  wish  that  he  might  ever 
be  followed  by  a  grave-digger,  so  that  he  should  be  interred 
without  delay  or  ceremony  when  he  should  fall  dead  in  his 
cups."     P.  1S1 :    "  Shan  T'ao,   206-285.     A  statesman   under 


33S  KANG-HE. 

Liang  Wu  Ti,  and  distinguished  by  the  patronage  he  extended 
to  rising  talent."  As  he  seems  to  have  lived  to  the  age  of 
eighty-one,  this  is  probably  the  figure  of  the  old  gentleman 
being  assisted  to  walk  by  one  of  the  attendants.  P.  240  : 
"  Wang  Jung,  third  century  a.d.  He  held  office  as  a  minister 
of  Tsin  Hwei  Ti,  but  is  reported  in  history  as  having  abandoned 
the  discharge  of  his  duties  to  underlings,  while  he  gave  himself 
up  to  a  life  of  pleasure  and  extravagance.  He  was  distin- 
guished by  a  commanding  appearance  and  a  piercing  gaze. 
It  is  related,  in  illustration  of  the  grasping  covetousness  which 
characterized  him,  that  he  kept  daily  tally  of  the  income  derived 
from  the  enormous  estates  he  possessed  all  over  the  empire ; 
and  that  having  a  rare  and  valuable  growth  of  plums  in  his 
orchards,  he  caused  the  stones  of  all  the  fruit  to  be  removed 
before  being  sent  to  market,  lest  the  growth  should  be  pro- 
pagated by  others."  P.  290  :  "  Yuan  Hien,  third  century 
a.d.  A  nephew  of  Yiian  Tsi ;  famous  as  a  lover  of  music  and 
wine,  and  as  a  philosopher  studying  content  and  moderation 
in  preference  to  the  ways  of  ambition."  P.  291:  "Yiian  Tsi, 
a.d.  210-263.  A  celebrated  scholar  and  functionary,  princi- 
pally renowned  by  his  habits  of  eccentricity  and  his  love  of 
music  and  wine-bibbing.  He  professed  adherence  to  the 
doctrines  of  Lao-tsze  and  Chwang-tsze,  preferring  the  quietism 
they  preached  to  the  more  toilsome  duties  of  public  life." 

No.  580.  Diameter,  14  inches  ;  height,  2\  inches.  Mark, 
lotus  flower  in  two  blue  rings ;  everted  edge.  The  decoration 
is  marked  off  by  black  rings,  and  the  special  feature  about  this 
dish  is  the  green  speckled  work  band,  ornamented  with  white 
primus  blossom  springing  from  boldly  drawn  aubergine  trunks, 
relieved  with  red  flowers  and  green  foliage.  In  the  central 
decoration  the  colouring  is  chiefly  in  green  and  aubergine,  with 
red,  blue,  and  yellow,  but  sparingly  introduced. 

"  During  the  Han  dynasty,  Chang  Ch'ang  was  the  Mayor 
of  Peking,  and  used  to  paint  his  wife's  eyebrows.  He  is  depicted 
here  as  performing  the  interesting  task  with  a  Chinese  pencil, 
and  is  suddenly  called  to  an  audience  with  his  Imperial  master. 
One  attendant  holds  the  tray  with  the  pigments,  and  another 
awaits  without  with  lanterns,  etc." 

The  "  Chinese  Biographical  Dictionary,"  at  p.  9,  tells  us 
that  Chang  Ch'ang  died  B.C.  48,  a  distinguished  scholar  and 


580. 


581. 


[To  face  p.  338. 


FAMILLE   VERTE.  339 

official.  He  flourished  under  the  Emperor  Yuan  Ti.  In 
B.C.  61  he  was  promoted  to  be  Governor  of  the  Metropolitan 
District.  The  account  reads  as  follows  :  "  He  made  a  practice 
of  painting  his  wife's  eyebrows  ;  and  when  the  emperor  rallied 
him  on  the  point,  he  replied  that  this  was  a  matter  of  the 
highest  importance  to  women." 

No.  581.  Dish.  Diameter,  16J  inches ;  height,  2  J  inches. 
Mark,  shell  in  two  blue  lines.  The  decoration  is  marked  off 
by  black  circles.  The  diaper  border  is  roughly  drawn,  the 
patterns  being  in  red  ;  the  eight  reserves,  however,  are  marked 
off  by  green  and  yellow  bands,  the  symbols  being  in  these 
colours  with  red  fillets.  As  is  not  unusual,  it  will  be  noticed 
that  the  symbols  are  taken  from  both  the  eight  ordinary  and 
eight  Buddhist  emblems.  The  bottom  of  the  dish  is  divided 
by  green  speckled  work  into  four  leaf-shaped  and  one  square 
reserve.  The  former  are  decorated  with  flowers  —  chrysan- 
themums, flower  spray  with  bee,  flower  with  butterfly,  and 
primus  with  bird,  probably  representing  the  four  seasons.  In 
the  centre  is  seated  an  elderly  gentleman  with  a  lady  on  his 
knee,  while  a  young  man  is  in  the  act  of  walking  away. 

"  During  the  Han  dynasty,  when  the  empire  was  divided 
into  three  kingdoms,  Liu  Pei,  ruler  of  the  Shoo  Kingdom,  was 
possessed  of  great  power,  and  Sun  Chuan,  King  of  Woo,  wished 
to  injure  him,  and  with  this  purpose  in  view  gave  him  his 
younger  sister  in  marriage.  Liu  Pei  saw  through  the  scheme 
and  begged  his  wife  to  save  him.  Afterwards,  on  the  first  day 
of  the  New  Year,  they,  i.e.  Liu  and  his  wife,  under  a  pretence 
of  going  to  the  river  to  offer  sacrifice  to  their  ancestors, 
escaped.  The  picture  shows  them  about  to  depart,  and  the 
gentleman  in  front  was  a  brave  general  of  Liu's,  who  had 
accompanied  him  to  Woo.  (It  should  be  explained  that  Sun 
Chiian  got  Liu  to  go  to  Woo  for  his  wedding,  and  would  not 
allow  him  to  return  to  his  own  kingdom.)" 

Mayers,  at  p.  133,  and  the  "Chinese  Biographical  Dictionary," 
at  p.  516,  give  the  history  of  Liu  Pei,  who  seems  to  have  lived 
from  a.d.  162-223,  and  was  the  founder  of  the  minor  Han 
dynasty. 


340  KANG-HE. 

Soft  Paste. 

This  we  know,  from  Pere  d'Entrecolles'  letters,  was  dis- 
covered towards  the  end  of  this  reign  (see  p.  444),  and  although 
Kang-he  pieces  in  blue  and  white  and  the  Mane  de  Chine  class 
are  to  be  met  with,  it  is  doubted  if  the  true  Kang-he  famille 
verte  style  of  decoration  is  to  be  found  on  soft  paste.  If  you 
ask  a  London  dealer,  the  reply  will  probably  be  that  he  cannot 
remember  ever  having  seen  it ;  but  this  is  what  Mr.  Winthrop 
writes  on  the  subject : — 

"Among  other  specimens  was  a  handsome  K'hang-he 
cylindrical  vase,  with  the  pheasant,  rocks,  chrysanthemums, 
etc.,  and  diapered  borders,  all  upon  a  body  of  soft  paste,  with 
a  beautiful  floating  glaze. 

"  Once  upon  a  time  I  think  that  I  made  for  you  on  the 
margin  of  a  letter  a  tiny  drawing  of  a  teapot  in  the  shape  of 
a  pomegranate,  or  a  Peche  de  longevite  in  blanc  de  Chine,  and 
the  paste  of  the  vase  that  I  have  just  seen  appears  almost 
identical  with  that  of  the  teapot. 

"  A  Japanese  gentleman,  who  has  been  in  China  and 
Europe,  and  is  much  interested  in  porcelain,  called  my 
attention  to  sundry  of  these  fine  K'hang-he  pieces,  where 
the  same  hand  had  decorated  upon  the  soft  paste  and  upon 
the  common  hard  paste,  showing  that  the  two  pastes  were 
made  at  the  same  epoch,  and  probably  at  the  same  factory. 
Two  of  these  soft  paste  jars  (potiches)  with  covers  are  marked 
under  the  foot  with  the  double  ring  in  blue  under-glaze,  while 
the  fine  soft  paste  cylinder  jar  has  no  mark  whatever. 

"  In  this  house  I  have  a  '  K'hang-he '  potiche  decorated 
with  the  pheasant,  etc.,  double  ring  under  the  bottom,  where 
the  decoration  as  a  specimen  of  successful  colour  is  very 
remarkable,  I  think.  Every  tint  has  come  out  at  its  fullest 
tone.  In  other  respects  it  has  nothing  out  of  the  common. 
I  enclose  herewith  a  sketch,  or  rather  etching,  of  it,  that  I 
made  twenty  years  ago,  when  my  eyes  were  better  (No.  848). 
I  send  it  to  you  that  you  may  identify  a  piece,  decorated  upon 
the  ordinary  hard  Chinese  paste  of  good  quality,  of  which  I 
have  just  had  in  my  hand  the  counterpart,  painted  incontestibly 
by  the  same  hand,  with  every  little  trick  of  touch,  upon  the 
soft  paste  with  floating  glaze.     The  two  pieces  must  have  been 


CO 


* 

o 

^ 

£ 


00 

10 


CO 
QO 


CM 

GO 


SOFT    TASTE.  341 

painted  by  the  same  person,  presumably  at  the  same  place, 
and  within  no  great  distance  of  time,  since,  successful  copyists 
as  the  Chinese  are,  one's  touch  changes  in  using  colours,  and 
in  repeating  any  design." 

No.  8±8  has  a  somewhat  latish  look,  which  is  to  be  expected  ; 
but  Mr.  Winthrop  is  not  likely  to  be  mistaken,  and  it  will  at 
least  afford  us  all  some  little  amusement  to  be  on  the  outlook 
to  meet  with  a  specimen  of  Kang-he  famille  verte  on  soft 
paste. 

The  writer  has  just  found  a  piece !  The  above  had  been 
written  some  three  months,  when,  after  searching  for  more 
than  a  year,  one  morning  the  following  letter  was  received 
from  Mr.  T.  J.  Larkin :  "  You  have  spoken  to  me  once  or 
twice  about  soft  paste  famille  verte,  Kang-he,  and  I  have  said 
I  had  never  seen  a  piece.  In  a  parcel  just  received  from 
China  there  is  a  ginger  jar,  soft  paste,  crackle,  famille  verte, 
Kang-he — the  first  and  only  piece  I  have  ever  seen."  Ee- 
pairing  to  Bond  Street,  expecting  to  see  a  late  famille  verte 
piece,  one  was  not  a  little  surprised  to  be  introduced  to  the 
jar  shown  in  Nos.  582,  583,  584.  Height,  8  inches.  Mark, 
two  blue  rings,  decorated  in  a  style  that  we  would  not  place 
later  than  about  the  middle  of  this  reign.  The  jar  is  not  made 
throughout  of  soft  paste,  but,  like  so  many  others,  is  composed 
of  some  coarser  material  coated  with  soft  paste.  It  has  all  the 
appearance  of  being  an  early  effort  in  soft  paste,  the  porcelain 
being  stained  in  places  in  a  way  that  does  not  seem  intentional, 
and  the  crackle  very  irregular ;  but  if  we  are  right  in  dating 
it  from  the  middle  of  this  reign,  then  soft  paste  was  known 
sooner  than  Pere  d'Entrecolles  would  lead  us  to  believe,  and  if 
so,  why  is  there  so  little  of  this  Kang-he  soft  paste  to  be 
found  ?  This  is  one  of  those  puzzles  in  Chinese  porcelain  that 
it  is  very  difficult  to  solve.  Of  course,  this  really  may  be  a 
late  Kang-he  piece  decorated  in  an  earlier  style ;  but  if  so, 
the  reproduction  is  better  carried  out  than  is  usually  the  case. 
Americans  have  paid  more  attention  to  soft  paste  than  we 
have,  and  naturally,  as  it  turns  up  in  China,  it  is  shipped  to 
the  best  market ;  but  it  seems  odd  that  in  the  past  so  little 
seems  to  have  found  its  way  to  Europe. 


342  KANG-HE. 

Famille  Verte  with  Blue  Enamel. 

Nos.  585,  586.  A  pair  of  famille  verte  dishes.  Diameter, 
20  J  inches ;  height,  2§  inches.  Note  the  mark  which  is 
somewhat  uncommon;  it  is  enclosed  in  two  blue  rings.  See 
No.  483.  These  beautiful  pieces  probably  belonged  originally 
to  a  set  of  four,  representing  the  seasons  ;  if  so,  the  lotus  and 
chrysanthemum  are,  unfortunately,  missing.  They  are  finished 
off  with  a  gilt  edge,  below  which  the  diaper  band  in  each  is 
the  same,  a  yellow  circle  on  the  inside  balancing  the  gilt  at 
the  edge.  In  the  winter  piece  the  stem  of  the  primus  tree  is 
a  beautiful  aubergine  glaze,  such  as  is  to  be  found  on  much 
of  the  china  of  this  period ;  the  flowers  are  marked  in  gilt  and 
red,  so  as  to  show  up  on  the  white  ground,  while  the  reader 
will  notice  the  bamboo  shoots  on  either  side ;  but  the  pine, 
the  other  of  the  "  three  friends,"  seems  wanting.  The  magpies, 
birds  of  good  omen,  no  doubt,  foretell  the  coming  spring.  On 
the  spring  dish,  No.  586,  the  rocks  are  covered  with  grasses, 
while  in  addition  to  birds  we  have  butterflies  and  other  insects, 
showing  the  advance  that  has  taken  place  in  the  year.  Of  the 
five  paBonies,  two  are  gilt,  one  blue,  one  reel,  while  the  top  one 
is  red  near  the  stem  and  blue  and  neutral  tint  beyond — really 
two  flowers,  although  in  the  photograph  they  look  like  one. 
Gilt  enters  largely  into  the  composition  in  these  handsome 
pieces,  that  rich,  dull  gold  so  much  admired  by  collectors. 
The  backs  of  these  dishes  are  left  undecorated. 

"Magpies  and  the  apricot  or  prunus. — In  China  artists 
draw  spring,  summer,  autumn,  and  winter  pictures.  The  spring 
is  represented  by  the  nightingale  and  the  willow,  the  summer 
by  the  white  egret  and  the  lotus,  the  autumn  by  the  crane  and 
the  fir  tree,  and  the  winter  by  the  apricot  and  the  magpie." 

Dr.  Bushell  gives  the  following  instances  of  how  the 
seasons  are  symbolized  by  the  Chinese  in  pieces  illustrated 
in  his  book : — 

Speing. 
Pseony  with  magnolia. 
Two  ladies  under  a  willow. 
Magnolia  yulan  and  paeony. 
Mountain  scene,  peach  trees  with  pink  blossoms,  willows. 


585. 


[To  face  p.  342. 


58G. 


[To  face  p.  342. 


FAMILLE   VERTE.  343 

Summer. 

Lotus. 

Boat  with  lotus. 
Hydrangea,  pinks,  flags. 
Pines,  poplars,  reeds. 

Autumn. 

Chrysanthemum,  birds,  butterflies. 
Ladies  gathering  olives  (Olea  fragrans). 
Oaks,  acorns  and  russet  leaves,  chrysanthemums. 
Swollen  river  and  autumn  tints. 

Winter. 
Plum. 

Plum  and  early  roses. 
Snowstorm. 

The  primus  and  the  magpie  seem  not  an  unusual  combina- 
tion, for  at  p.  4:86  Mr.  Hippisley  speaks  of  a  piece  "  decorated 
with  plum  trees  of  the  pink  and  white  blossom  varieties, 
perched  on  which  and  on  the  ground  are  one  hundred  magpies, 
symbolizing  '  a  hundred,  i.e.  every  kind  of  happiness,'  the 
magpie,  from  its  merry-sounding  chatter,  being  termed  *  the 
bird  of  happiness.' " 

Why  the  present  dynasty  reverence  the  magpie  is  explained 
by  Gutzlaff  in  his  " History  of  China,"  vol.  ii.  p.  2  :  "As  they 
(the  Mantchoo  Fathers)  were  not  acquainted  with  the  art  of 
writing,  the  origin  of  the  present  Imperial  family  is  involved 
in  obscurity.  According  to  the  Chinese  records,  the  Mantchoo 
empire  took  its  rise  near  the  Long  White  Mountain,  to  the 
north  of  Korea,  where,  in  a  genial  climate,  which  has  ever 
proved  productive  of  great  spirits,  between  the  sources  of  three 
great  rivers,  and  in  the  neighbourhood  of  a  lake,  near  Mount 
Ealkhori,  there  formerly  lived  three  celestial  maidens.  One 
day,  while  bathing  in  the  Lake  Balkhori,  a  sacred  magpie 
dropped  on  the  robe  of  one  of  the  three  a  red  fruit,  eating  of 
which,  she  became  pregnant,  and  bore  a  son,  who  could  speak 
from  his  birth,  and  whose  form  displayed  something  marvellous. 
Demanding  of  the  eldest  of  her  sisters  what  name  she  should 
bestow  upon  the  child,  she  answered  :  '  Heaven  has  sent  him, 
vol.  11.  f  2 


^44  KANG-HE. 


j 


in  order  to  restore  peace  among  the  kingdoms  ;  therefore  you 
must  call  him  Aisingkioro,  and  give  him  the  surname  of 
Balkhori  Yong-shon.'  After  his  mother  had  been  removed 
to  the  icy  cave,  where  she  died,  her  son  entered  a  small  boat, 
in  which  he  followed  the  course  of  the  river.  There  were  at 
that  time  three  chiefs  engaged  in  mortal  feuds ;  one  of  them, 
descending  to  the  river  for  water,  on  perceiving  the  boy, 
greatly  admired  him ;  and  his  relations  also  going  to  see  him, 
and  hearing  that  he  was  born  in  order  to  put  a  stop  to  dissension, 
they  exclaimed  :  '  This  man  is  a  saint,  begotten  of  Heaven  ! ' 
They  therefore  chose  him  for  their  prince,  upon  which  he 
adopted  for  his  kingdom  the  honorary  title  of  Mantchoo.  At 
last,  after  several  generations  had  passed  away,  the  subjects 
revolted,  and  extirpated  his  whole  family,  excepting  Fan-sha-kin, 
a  lad  who  fled  to  the  desert.  When  closely  pursued  by  his 
enemies,  a  magpie  alighted  upon  him,  so  that  his  pursuers, 
mistaking  him  for  the  withered  trunk  of  a  tree,  passed  by  at 
a  distance." 

Nos.  587,  588.  Famille  verte  bow].  Diameter,  13i  inches ; 
height,  6J  inches.  Mark,  seal  (probably  Full,  happiness),  in 
two  blue  rings.  Outside,  the  decoration  is  not  marked  off 
by  rings,  and  consists  of  the  "  three  friends,"  the  prunus,  pine, 
and  bamboo,  most  beautifully  painted.  The  prunus  tree  springs 
from  the  ground,  a  magnificent  old  trunk  in  aubergine,  from 
which  sprout  green  twigs,  with  the  most  lovely  plum  blossoms, 
in  pink,  so  as  to  show  up  on  the  white  ground,  while  the 
pine  branches  stretch  down  from  the  top,  displaying  the  most 
charming  green  enamel.  Here,  truly,  we  have  the  famille  verte 
at  its  best.  The  reader  will  notice  that  magpies  are  introduced 
along  with  the  prunus,  as  in  No.  585.  On  the  other  side  are 
two  broken  bamboo  sprouts,  with  yellow-tipped  leaves,  showing 
that  it  is  winter,  a  red  mat  fence,  with  red  bamboo  pillars 
and  gilt  tops,  rocks  in  green  and  blue,  with  some  flowers,  and 
two  large  butterflies  beyond,  one  in  coloured  enamels,  the  other 
in  what  looks  like  a  black  aubergine  and  gilt.  Inside,  the 
decoration  is  of  quite  a  different  nature ;  at  the  edge, 
marked  off  in  black,  there  is  a  green  speckle-work  band 
1|  inches  deep,  on  which  are  thrown  flowers  and  butterflies, 
chiefly  in  red,  blue,  and  aubergine.  The  six  reserves  are 
marked  off  by  blue  and  gilt  bands,  two  contain  each  a  red  fisji ; 


CO 


.53 


£ 


GO 

GO 


GO 
»T5 


5S9. 


[To  face  p.  345. 


FAMILLE   VERTE.  345 

two  rocks  and  flowers,  a  beetle  in  one  case  and  a  butterfly  in 
the  other ;  two  a  landscape,  one  with  a  deer,  the  other  with 
a  hare.  The  bine  enamel  in  this  band  is  much  lighter  and 
brighter  than  is  nsual  in  this  class.  Next  to  the  band  comes 
one  red  circle,  after  which  the  plain  porcelain  extends  to  the 
bottom,  where,  enclosed  in  two  red  circles,  we  have  two  red  and 
gilt  carp  disporting  themselves  in  green  waves,  with  very  light 
aubergine  surfaces  and  foam.  The  landing-stage,  with  its  red 
piles  topped  with  blue  dogs,  is  none  other  than  the  "  dragons' 
gate,"  as  proclaimed  by  the  two  gilt  Chinese  characters  (see 
pp.  163,  195). 

Famille  Verte  with  Blue  under  the  Glaze, 

No.  589.  A  famille  verte  plate,  with  blue  under  the  glaze. 
Diameter,  21-J  inches ;  height,  2J  inches.  No  mark.  As 
usual  where  blue  under  the  glaze  is  employed,  the  decoration 
is  marked  off  by  three  rings,  in  the  same  way  as  in  blue  and 
white.  For  the  rest  the  drawing  is  in  black,  or  in  the  colour 
to  be  employed  on  that  part  of  the  surface.  The  wide  rim  of 
this  plate,  where  not  covered  by  foliage,  is  coated  with  green 
speckled  work,  on  which,  as  it  were,  are  thrown  chrysanthemums 
and  lotus  flowers,  six  in  shaded  red,  one  in  blue,  two  in  salmon 
colour  and  blue,  while  the  asters  and  lotus  buds  between  are 
in  a  green-yellow  and  aubergine  of  various  shades,  some  quite 
black,  relieved  here  and  there  with  blue  or  red,  gilt  being  used 
throughout  pretty  freely,  the  whole  forming  a  most  beautiful 
floral  tangle.  The  centre  is  occupied  by  a  four-claw  dragon 
standing  on  one  foot,  holding  between  its  two  front  claws  one 
of  the  many  longevity  characters  in  gilt.  The  body  of  the 
dragon  is  traced  in  black,  and  covered  with  green  glaze, 
through  which  the  black  shows.  The  spikes  on  the  back  are 
in  aubergine,  as  also  the  mane  and  claws,  the  belly  in  red,  the 
head  in  a  green-yellow  with  aubergine  shading,  gilt  eyes  with 
black  centres ;  the  nebula?  round  are  in  green-yellow  and  red. 
In  this  plate  we  have  the  famille  verte  at  its  best,  and  it  would 
be  difficult  to  find  a  more  beautiful  specimen  of  this  special 
class,  for  which  the  reign  now  under  review  was  so  justly 
celebrated.  Some  readers  may  be  inclined  to  regret  that  the 
dragon  has  not  five  claws ;  but  it  was  probably  made  to  the 
order  of  a  prince  of  the  third  or  fourth  rank,  who,  rich,  with  a 


346  KANG-HE. 


D 


love  for  fine  things,  was  able  and  willing  to  pay,  so  got  jnst 
as  good  an  article  as  could  have  been  obtained  by  a  prince  of 
higher  rank  entitled  to  the  five  claws.  We  often  find  the  still 
more  humble  mang  on  many  very  fine  pieces,  and  it  is  ever 
as  works  of  art,  and  not  as  emblems  of  rank,  that  ceramic 
productions  must  be  judged  and  prized.24  At  back  there  are 
three  sprays,  each  with  two  red  flowers  and  blue  foliage. 

FamilJe  Verte  with  Blue  Enamel. 

Let  us  now  see  what  this  period  could  produce  in  the  way 
of  famille  verte  dinner  and  dessert  plates,  and  this  wc  have  an 
opportunity  of  doing  in  Nos.  590,  591. 

No.  590.  Diameter,  10^  inches ;  height,  If  inch.  Mark, 
diamond  with  cross,  and  a  square  in  each  corner.  This  is  fitted 
with  fillets,  so  no  doubt  is  intended  for  one  of  the  sacred 
symbols.  Two  blue  rings.  As  pointed  out  in  p.  191,  marks 
seem  to  have  been  esteemed  in  bygone  days  as  an  evidence  of 
quality,  and  although  that  belief  may  have  been  justified  in 
many  instances,  such  as  this  and  No.  590,  still  there  is  no 
doubt  this  faith  in  marks  was  sadly  imposed  upon  in  the 
majority  of  cases.  At  the  back  of  this  plate  there  are  four 
symbols  in  green  with  red  fillets,  viz.  a  pearl,  a  fan,  a  roll  of 
paper,  and  the  lozenge  (No.  31).  The  decoration  on  the  face 
of  the  plate  is  carried  right  over  the  whole  surface  up  to  the 
narrow  diaper  band  at  the  edge.  This  border  is  in  red  with 
green  ovals,  ornamented  with  blue  and  yellow  flowers.  The 
design  consists  of  the  usual  grouping  of  vases,  jars,  symbols, 
etc.,  which  are  coloured  chiefly  in  blue  and  green  with  a  little 
red,  the  legs  of  the  stands  being  in  that  colour.  The  lute  and 
the  fungus  spray  are  in  aubergine,  as  also  the  ornamentation 
on  the  packets  of  books  and  some  of  the  vases.     The  most 

21  This  view  is  in  accordance  with  my  experience,  but  nevertheless  it  is 
only  too  true  that,  according  to  the  Sumptuary  Laws  of  China,  no  doubt  was 
left  upon  this  point,  and  it  was  only  the  finest  specimens  of  decorated  porce- 
lain that  were  absorbed  by  the  Imperial  Palace  or  Household,  and  we  do  find 
that  the  indication  of  Imperial  rank  by  five-clawed  dragons  and  phoenixes 
(the  mark  of  the  Empress)  is  almost  invariably  connected  with  the  richest 
and  most  superb  expression  of  Chinese  Ceramic  Art,  and  in  no  sense  can  these 
specimens  be  confounded  with  the  class  of  porcelain  exported  by  the  Dutch, 
English,  and  other  companies  in  the  seventeenth  and  eighteenth  centuries. — ■ 
T.  J.  L. 


591. 


590. 


[To  face  p.  346. 


TRADE   SECTION.  347 

pleasing  and  noteworthy  feature,  however,  is  the  lovely  spray 
of  primus  which  springs  from  the  large  blue  beaker.  The 
stalk  is  in  aubergine,  and  the  blossoms  in  light  green  enamel 
with  yellow  centres,  the  black  outline  showing  through  the 
glaze.  A  few  of  the  flowers  are  in  blue,  to  break  the  monotony 
of  the  one  colour.  It  would  not  be  easy  to  find  anything 
better  than  this  primus  spray. 

No.  591.  Dessert  plate.  Famille  verte  with  blue  enamel. 
Diameter,  8\  inches;  height,  1^  inch.  Mark,  "Ching-hwa" 
(1465-1485),  in  two  blue  rings.  This  is  a  very  good  example 
of  the  fine  quality  sometimes  to  be  met  with  in  the  so-called 
trade  section ;  but,  of  course,  with  the  comparatively  few  excep- 
tions where  pieces  were  made  and  decorated  under  special 
order,  the  whole  manufacture  of  china-ware  was  carried  on 
as  a  trade  to  supply  the  home  and  foreign  demand  for  the 
many  beautiful  and  useful  articles  into  which  porcelain  was 
shaped.  Why  the  charming  plate  now  under  consideration 
should  be  marked  "  Ching-hwa ':  it  is  difficult  to  imagine, 
unless  it  be  that  Chinese  writers  describe  that  period  as  cele- 
brated for  artistic  decoration ;  the  mark,  however,  as  stated  in 
p.  247,  seems  ever  to  have  been  a  favourite  one  with  the 
European  trader,  which  circumstance  probably  had  more  to 
do  with  its  selection  in  the  present  case  than  anything  else. 

The  decoration  on  the  rim  is  marked  off  by  three  red  lines, 
while  the  flowers  seem  to  spring  from  or  rest  on  the  outer  one ; 
and  the  reader  will  notice  the  black-beetle  that  is  introduced 
at  top  in  the  border.  The  flowers  are  chiefly  in  red  and  blue, 
with  one  aubergine  and  one  yellow  in  the  band.  Those  in  the 
centre  seem  to  be  poppies,  with  asters  at  foot.  The  butterfly 
is  in  green,  blue,  black,  red,  and  gilt.  The  rocks  are  kept 
low,  and  are  in  blue  and  green.  One  yellow  flower,  with  a 
blue  centre,  appears  between  the  two  wide  leaves  that  spring 
from  the  ground  to  the  reader's  left  hand.  There  is  a  grass- 
hopper perched  on  the  top  leaf  in  another  plate  similar 
to  this. 

Trade  Section. 

Although  it  is  usual  to  talk  of  a  trade  section  in  regard 
to  Chinese  porcelain,  it  would,  apart  from  exceptional  pieces 
evidently  origiually  made  under  special  order,  be  exceedingly 


348  TRADE   SECTION. 

difficult  to  say  where  the  same  commenced  or  ended,  and 
which  pieces  should  or  should  not  be  included.  A  plate,  like 
an  individual,  must  be  judged  by  inherent  worth,  while  in  the 
same  family,  so  to  speak,  some  members  are  vastly  superior  to 
others.  Take,  for  instance,  No.  245.  These  plates  must  have 
been  imported  in  considerable  numbers,  and  appear  all  to  be 
exactly  alike,  even  to  the  scene  in  the  centre ;  but  at  the 
same  time  some  are  much  finer  than  others,  and  the  best  are 
now  very  justly  received  into  the  most  exclusive  society, 
occupying  places  in  the  most  fastidiously  select  private  col- 
lections. King-te-chin  was  a  vast  trading  town ;  the  quality 
of  the  wares  supplied  all  depended  upon  the  price  paid ;  so  it 
is  all  the  world  over,  ever  has  been,  and  ever  will  be.  The 
trade  with  Europe  via  the  Cape  seems  to  have  reached  con- 
siderable dimensions  by  the  middle  of  the  reign  of  Kang-he, 
say  about  1690,  and  was  probably  at  its  height  about  seventy 
to  a  hundred  years  later,  when  it  appears  to  have  been  con- 
ducted on  much  the  same  lines  as  the  trade  in  Turkey  and 
Persian  carpets  now  is.  You  have  only  to  give  the  size  and 
choose  the  pattern,  and  in  due  course  a  carpet  more  or  less 
resembling  what  you  want  will  be  delivered  to  you.  So  it  was 
with  china.  The  tale  is  told  of  a  lady  who  wished  to  match  some 
saucers,  and,  to  prevent  all  chance  of  mistake,  wrote  on  the 
bottom  of  one,  "  1  doz.  like  this  "  ;  handing  it  to  her  merchant. 
About  a  year  afterwards  she  received  the  saucers,  exactly 
what  she  wanted,  but  painted  on  the  bottom  of  every  one, 
and  burnt  in  along  with  the  other  colours,  was  the  remark, 
"  1  doz.  like  this."  Where  it  was  wished  to  depart  from  the 
beaten  paths  and  obtain  some  special  design,  as  in  the  case 
of  armorial  bearings,  it  seems  to  have  been  usual  to  supply 
coloured  drawings,  the  reproductions  of  which  we  now  find  on 
much  of  the  old  china.  Another  story  is  told  of  a  family 
who,  to  save  trouble,  merely  sent  the  design  they  wanted,  with 
"  green,  red,  blue,"  etc.,  written  here  and  there  where  those 
colours  were  to  be  used.  At  the  expected  time  the  plates 
arrived,  an  exact  copy  of  their  order,  the  colours  merely  being 
indicated  by  the  names  written,  as  in  the  original  sketch. 

The  Portuguese  having  been  the  first  to  trade  with  China 
via  the  Cape,  we  might  naturally  expect  to  find  a  lot  of  old 
porcelain  in  their  hands;  but  the  troubles  which,  at  a  later 


TRADE   SECTION.  349 

date,  befell  Portugal  impoverished  most  of  the  old  families, 
and  from  about  1830  onwards  a  regular  trade  was  done  on 
the  quiet — people  not  wishing  it  to  be  known  that  they  were 
parting  with  their  heirlooms.  In  this  way  a  great  deal  of  old 
china  passed  into  the  possession  of  other  countries.  One  Dutch 
dealer,  it  is  said,  used  to  visit  Lisbon  annually,  and  bring  away 
all  he  could  get.  Prices  were  then  very  moderate,  and  vases 
that  the  Portuguese  gladly  sold  for  £30  or  £40,  some  years 
later  brought  hundreds  in  Bond  Street. 

The  Dutch,  being  a  rich  nation,  have  retained  their  ceramic 
treasures,  and,  fortunately  for  them,  their  own  delft  derived 
its  chief  inspiration  from  the  Chinese. 

Germany  seems  to  have  drawn  what  she  possesses  chiefly 
through  Holland,  and  it  was  probably  in  this  way  that  the 
collection  at  Dresden  was  formed. 

France  naturally  has  coquetted  between  her  own  Sevres 
and  Chinese.  If  the  reader  would  judge  between  the  two,  the 
beauties  of  the  former  can  well  be  studied  in  the  magnificent 
specimens  now  on  view  at  Hertford  House.  Thereafter  visit 
the  Franks  collection  at  the  British  Museum,  or  wander  round 
the  Salting  collection  at  South  Kensington.  The  change  will 
be  sudden,  but  invigorating.  Instead  of  the  studied  classic 
forms  of  the  past,  few  of  which  can  be  turned  to  any  practical 
use  nowadays,  he  will  find  the  simple  shapes  that  have  been 
called  into  existence  by  the  requirements  of  everyday  life  in 
China.  Instead  of  the  belaboured  compositions  of  French 
artists  in  set  colours,  he  will  find  the  freehand  drawing  of  the 
Chinese  depicted  in  a  careless  profusion  of  colouring.  It  is 
this  easy  grace  of  the  Chinese  pieces  that  makes  any  European 
competitor,  when  placed  alongside,  look  common. 

At  the  present  time  England  and  the  United  States  of 
America  are  the  chief  holders  of  Chinese  porcelain,  and  the 
growing  prices  testify  to  the  esteem  in  which  this  ware  is  now 
held  in  both  countries ;  but  there  is  every  reason  to  fear  that 
ere  very  long  the  Americans  will  have  outstripped  us  in  the 
race,  as  the  finest  pieces,  as  they  come  into  the  market,  are 
taken  for  America  at  prices  beyond  the  reach  of  most  people 
on  this  side.  There  is  a  love  of  the  quaint  on  the  other  side 
of  the  Atlantic  to  which  Chinese  art  appeals  with  more  force 
than,  unfortunately,  is  always  the  case  here,  and  we  will  awake 


350  KANG-HE. 

one  clay  to  realize  the  fact  that  we  have  allowed  the  most 
beautiful  things  to  pass  into  the  hands  of  our  more  discerning 
cousins. 

Famille  Verte  with  Blue  Enamel. 

Going  back  to  the  dish  shape,  we  will  now  take  No.  592. 
Diameter,  10J  inches ;  height,  If  inch.  Everted  rim. 
Mark,  seal,  same  as  Nos.  324,  325.  This  piece  shows  very- 
little  aubergine,  the  trunks  of  the  trees  being  in  green  enamel, 
through  which  the  drawing  in  sepia  shows  ;  to  break  the  green, 
some  of  the  leaves  are  in  blue  enamel.  The  mist,  which  seems 
to  come  very  low  down,  is  in  red  and  green.  The  gentleman 
with  the  fan  is  in  blue,  the  other  figures  being  dressed  chiefly 
in  green,  relieved  with  red,  yellow,  and  blue.  The  fence,  one 
of  the  seats,  and  the  top  of  the  altar  are  in  red ;  but  green  is 
the  chief  colour,  with  aubergine,  blue,  and  yellow  introduced 
here  and  there. 

"  During  the  Chin  dynasty  there  lived  a  celebrated  scholar 
named  Li  Yi  Ang,  and  his  wife,  who  were  ardent  Taoist 
worshippers.  They  are  here  represented  approaching  a  Taoist 
temple  and  being  received  by  a  priest  and  nun." 

No.  593.  Famille  verte  dish.  Diameter,  10 §  inches ;  height, 
If  inch.  No  mark.  This  piece  shows  the  minute  drawing 
and  careful  detail  which  mark  the  last  of  this  family.  Here 
we  have  the  colouring  almost  entirely  in  thin  washes  of 
aubergine  and  green  enamel,  sparingly  relieved  by  the  old 
red,  but  of  bright  hue,  with  very  little  blue  enamel.  The  fine 
drawing  we  find  on  this  dish  could  not  be  done  in  thick 
enamels.  The  sky  is  in  red  and  green.  The  motive  is  the 
same  as  in  No.  344,  so  need  not  be  referred  to  again.  This  is 
another  instance  of  aubergine  being  very  largely  employed  in 
the  decoration  with  excellent  effect.  On  this  dish  we  find  an 
artist's  mark. 

No.  594.  Famille  verte  dish.  Diameter,  9J  inches ;  height, 
ljL  inch.  No  mark.  The  diaper  band,  marked  off  in  black, 
is  of  an  unusual  pattern ;  it  consists  of  waved  circles  in  green, 
joined  together  by  yellow  flowers.  The  spaces  between  the 
circles  take  a  diamond  shape,  and  of  necessity  the  pattern  can 
be  arranged  in  rows,  one  line  being  filled  with  alternate  light 
and  dark  green  speckle  work,  the  other  with  red  specks  on  the 


592. 


593. 


[To  face  p.  350. 


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FAMILLE   VERTE.  351 

white  ground.  The  further  decoration  is  made  to  run  in  lines 
the  opposite  way,  so  that  the  blue  swastikas  come  on  the  red 
ground  and  the  red  swastikas  on  the  green,  the  same  being  the 
case  with  the  red  and  blue  flowers,  so  that,  looked  at  one  way, 
the  blue  symbols  are  on  the  red  ground  and  the  red  symbols 
on  the  green  ground,  the  swastikas  and  flowers  coming  alter- 
nately ;  while,  looked  at  the  other  way,  the  swastikas  and 
flowers  are  in  separate  lines,  and  it  is  the  colours  that  alternate 
instead  of  the  symbols.  The  reserves  are  marked  off  by  wide 
blue  bands  with  yellow  edgings,  and  decorated,  as  so  often  is 
the  case  in  these  fine  pieces,  by  the  despised  mang,  two 
being  blue,  two  green.  This  border  shows  what  they  were 
capable  of  in  the  way  of  diapers  towards  the  end  of  this  reign. 
The  central  decoration  consists  of  a  charming  winter  scene; 
a  small  stream  runs  in  the  middle,  the  water  being  indicated 
by  streaks  of  light-coloured  aubergine,  the  rocks  being  in 
green,  blue,  and  aubergine.  The  trunks  of  the  trees  are  in 
aubergine,  the  pines  alone  being  clothed  with  green;  while 
the  landscape  is  relieved  by  some  of  the  foliage  to  the  reader's 
right  hand  being  outlined  in  red,  probably  to  represent  the 
maple.  The  pavilions  are  framed  in  aubergine  and  roofed 
with  blue,  the  one  on  piles  having  yellow,  red,  and  green 
panels  introduced.  A  hill  at  the  back,  with  a  flight  of  ducks, 
completes  the  landscape.  The  sun  is  in  gilt,  the  sky  being 
slightly  coloured  red.  The  four  figures  are  dressed — two  in 
red,  the  others  in  aubergine  and  blue. 

No.  595.  Famille  verte  wine-pot.  Blue  enamel.  Height, 
7^  inches.  No  mark.  Oval  in  shape,  and  fluted  so  as  to  form 
four  panels.  The  decoration  is  marked  off  by  means  of  two 
black  lines.  The  handle  is  covered  with  a  yellow  enamel,  on 
which  black  rings  are  painted  to  imitate  rattan  (wicker)  work. 
The  base  is  glazed,  the  sides  at  the  four  grooves  being  carried 
down  so  as  to  form  four  feet.  The  spout  has  been  replaced 
by  a  silver  one.  The  chief  panel,  as  seen  in  the  photograph,  is 
decorated  with  a  winter  landscape,  the  roof  of  the  shed  and  the 
trees  being  in  aubergine,  while  a  red  semicircle  denotes  the 
sun  above  some  lightly  drawn  red  clouds.  The  panel  on 
the  other  side  shows  a  summer  landscape.  The  smaller  panels 
are  decorated  with  a  red-flowering  tree,  probably  intended  for 
peach  blossom,  a  bird  in  blue,  yellow,  and  black  being  in  the 

vol.  ir.  G 


352  KANG-HE. 

back  one,  and  a  yellow  and  bine  butterfly  in  the  front.  On 
the  shoulder  the  decoration  consists  of  red  and  blue  poeonies 
and  lotus  flowers,  with  green  foliage. 

In  No.  596  we  have  an  example  of  a  small  conical-shaped 
vase.  Height,  6j  inches.  No  mark.  Decorated  by  means  of 
figures  ranged  round  the  vase,  as  seen  in  the  illustration. 
There  is  a  lady  and  warrior  painted  in  blue  enamel,  green, 
aubergine,  black,  red,  and  a  little  gilt  on  the  head-dresses. 
The  top  has  been  cut  off.  On  the  shoulder  there  is  a  primus 
or  hawthorn  band,  with  green  ground,  and  red  flowers  thrown 
thereon,  the  ice  cracks  being  in  black,  which  show  through 
the  green  ground.  The  neck  seems  to  have  been  decorated 
by  black  sprays  on  the  white  porcelain,  such  as  is  often  to  be 
met  with  in  early  specimens,  of  which  this  is,  no  doubt,  a  copy. 

We  have  a  better  instance  of  this  same  style  of  decoration 
in  No.  597,  from  the  Bennett  collection : — 

"  White-ground  plate,  8  inches  in  diameter.  The  decora- 
tion, which  is  in  famille  verte,  consists  of  three  boldly  drawn 
figures,  representing  either  some  dramatic  scene  or  a  messenger 
approaching  two  high  personages.  On  each  figure,  depicted 
as  hanging  from  their  girdles,  is  a  small  square  plaque  in 
white,  on  which  some  characters  are  written,  but  I  have  no 
means  near  me  of  translating  these. 

"  The  enamels  are  bright  and  good.  It  is  not  marked ; 
but  it  undoubtedly  belongs  to  the  period  of  the  Emperor 
Kang-he." 

No.  598.  A  famille  verte  (blue  enamel)  tripod  incense- 
burner.  Height,  4J  inches ;  diameter,  SJ  inches.  No  mark. 
Including  the  stand  and  cover,  the  total  height  is  12  inches. 
When  you  find  a  piece  mounted  on  a  stand  of  this  sort,  as  a 
general  rule  it  is  safe  to  take  it  for  granted  that  the  quality 
is  above  the  average.  In  this  case,  which  is  also  important, 
the  stand  and  the  porcelain  seem  to  be  coeval.  The  stand  (as 
also  the  top,  with  the  exception  of  the  rim)  seems  to  be  carved 
out  of  a  single  piece  of  wood,  the  design  being  open  rock-work 
covered  with  prunus,  and  even  the  bottom  of  the  stand,  inside, 
is  decorated  with  a  spray  of  that  tree.  The  incense-burner 
itself  is  decorated  in  the  best  style  of  this  period  ;  the  greens 
and  blues  are  both  very  fine,  and  the  reds  are  applied  in  light 
washes.     Some  of  the  trunks  of  the  trees  are  in  aubergine, 


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FAMILLE   VERTE.  353 

others  in  green,  all  most  carefully  painted  in  enamel  colours. 
On  one  side  the  eight  immortals  do  homage  to  the  god  of 
longevity,  who  is  seated  on  a  stag.  As  seen  in  the  photograph, 
Ave  have  the  seven  worthies  of  the  bamboo-grove  playing 
chess.  The  other  three  figures  probably  represent  the  lament 
of  Yii  Peh-ya,  the  third  figure  being  the  father  of  the  lost 
friend  who  conducted  the  statesman  musician  to  the  grave. 
See  No.  684. 

No.  599.  A  famille  verte  (with  blue  enamel)  ginger-jar. 
Height,  9 J  inches.  No  mark.  Own  dome-top  decorated  with 
symbols.  The  jar  is,  by  means  of  green  speckled  work,  divided 
into  four  compartments,  two  of  which  are  decorated  with  the 
usual  symbols,  and  two  with  flowers,  paoonies  in  one,  chrys- 
anthemums in  the  other.  This  is  a  very  fine  piece,  while  good 
in  shape.  The  quality  of  the  paste  is  excellent,  and  very  white 
in  colour,  over  which  there  is  a  lovely  glaze.  The  design 
seems  to  have  been  traced  in  sepia,  which  shows  through  the 
enamels,  which  consist  of  the  usual  greens,  blue,  aubergine, 
and  a  light  shade  of  yellow.  The  reds  are  the  iron  tints 
common  in  this  class.     Altogether  this  is  a  very  nice  specimen. 

No.  600.  This  is  an  instance  of  famille  verte  decoration  on 
a  cafe-au-lait  ground,  while  the  enamels  employed  are  of  fine 
quality.  Diameter,  7  J  inches  ;  height,  3 J  inches.  Mark,  seal 
in  two  blue  rings.  The  decoration  consists  of  a  pile  of  rocks 
in  green  and  aubergine,  with  chrysanthemums  on  one  side  and 
poppies  on  the  other,  the  foliage  being  in  a  most  brilliant 
green ;  while  on  the  other  side  there  is  a  large  butterfly  in 
the  same  lovely  green  enamel,  with  aubergine  body  and  red 
facings.  The  flowers  are  in  red  and  various  shades  of  aubergine. 
Inside,  the  decoration  is  poor  ;  four  groups  of  small  red  flowers, 
with  a  prunus  spray,  form  a  sort  .of  border  at  the  top,  with  two 
small  red  flowers  at  the  bottom. 

No.  601.  A  famille  verte  bowl  of  good  quality ;  but  there  is 
nothing  special  about  it  beyond  the  fact  that  it  seems  at  one 
time  to  have  belonged  to  the  Dresden  collection,  as  seen  by 
the  No.  74  and  :x:  cut  in  the  porcelain  above  the  mark  (see 
p.  250).  Diameter,  7J  inches ;  height,  3J  inches.  Mark, 
flower  in  two  blue  rings  (see  No.  462).  The  decoration  springs 
from  a  green  joo-e  head  band  on  a  yellow  ground,  with  red  out- 
line at  top,  and  consists  of  four  flower  sprays.     At  top,  inside, 


354  KANG-HE. 

there  is  a  band  somewhat  similar  to  that  outside,  with  a  circular 
medallion  at  foot,  filled  with  green  speckled  work  decorated 
with  coloured  flowers. 

Nos.  602,  603  illustrate  famille  verte  plates  with  red  and 
gilt  corrugated  flange  edges.  Both  are  very  much  alike  in 
many  ways,  but  No.  603  is  much  more  carefully  painted,  and 
in  every  respect  a  better  plate  than  No.  602. 

No.  602.  An  octagon  plate.  Diameter,  12f  inches ;  height, 
1J  inch.  No  mark.  The  centre  decoration,  enclosed  in  two 
red  circles,  consists  merely  of  a  willow-tree,  with  aubergine 
trunk  and  green  foliage,  and  a  peach-tree  in  bloom,  with  red 
and  gilt  blossoms  ;  also  two  birds,  one  of  which  seems  to  be 
carrying  off  two  of  the  peach  flowers.  The  rim  is  covered  with 
a  green  speckled  work  border,  powdered  with  red  paeonies,  the 
four  reserves  being  decorated  alternately  with  butterflies  and 
grasshoppers.     At  back,  four  paeony-sprays  in  red. 

"  Simply  a  picture  of  trees,  flowers,  and  magpies." 

No.  603.  Plate.  Diameter,  14J  inches ;  height,  2  inches. 
Mark,  two  blue  rings.  Here  again,  as  seems  usual  in  these  plates, 
the  rim  is  decorated  with  green-speckled  work,  which  in  this 
case  is  ornamented  by  alternate  gilt  and  red  lotus  flowers,  the 
four  reserves  being  occupied  by  symbols,  or  lion  with  ball. 
The  only  blue  on  both  of  these  plates  is  at  the  sides  of  the 
reserves,  and  is  enamel  over  the  glaze.  This  border  is  finished 
off  by  the  comb  pattern,  not  very  often  met  with  in  China 
pieces ;  and  here  the  teeth,  instead  of  being  all  of  the  same 
height,  as  in  No.  539,  are  arranged  one  long  and  one  short 
alternately.  In  the  Japanese 25  Kushite  pattern,  found  on  the 
Okawaji  ware,  the  teeth  are  generally  longer  than  in  the 
Chinese  pieces.  The  centre  decoration,  enclosed  in  two  black 
rings,  consists  of  two  ladies,  who  are  probably  the  same  as  in 
No.  o±6,  only  minus  their  attendants ;  and  we  have  here,  in 
the  jardiniere,  a  dwarf  fir  and  peach  spray  instead  of  a  paeony, 
as  in  the  blue  and  white  plate.  The  ladies'  dresses  are  very 
carefully  painted,  and  we  see  here  the  care  in  detail  that  is 
wanting  in  earlier  pieces.  At  the  back  there  are  four  flower 
sprays  in  red  and  green.  "  The  two  sisters, '  Precious  Pearl '  and 
'  Green  Gem,'  walking  in  the  Tai  Kuang  garden  picking 
flowers." 

ss  Comb-teeth.— T.  J.  L. 


002 


603. 


[To  face  p.  354. 


FAMILLE    VERTE.  355 

No.  604.  A  rectangular  two-bulb  vase.  Height,  10  inches. 
No  mark.  This  vase  has  been  made  in  two  pieces  and  joined 
down  the  middle.  It  is  one  of  the  Prideaux  pieces  (see  p.  136), 
and,  like  No.  532,  a  very  good  example  of  what  used  to  be 
made  about  this  time  for  export  to  Europe.  The  decoration 
is  marked  off  in  red,  the  diaper  patterns  being  also  in  this 
colour.  The  four  large  reserves  show  the  pasony,  lotus,  chrys- 
anthemum, and  prunus.  On  the  smaller  bulb,  on  one  side  there 
are  symbols ;  on  another,  a  landscape ;  the  third,  flowers  and 
grasshopper  ;  the  fourth,  flowers  and  a  hare.  Apart  from  the 
red,  the  following  enamels  are  employed :  blue,  green,  auber- 
gine, and  yellow.     These  are  helped  by  gilt  at  places. 

Coral. 

This  class  may  be  of  any  date,  and  each  piece  must  be  judged 
separately  as  to  age.  Some  show  a  sort  of  metallic  lustre  or 
reflet,  frequently  of  a  blue  shade,  and  these  are  the  pieces 
most  valued  by  collectors.  This  lustre  is  to  be  found  chiefly 
on  the  whole-coloured  pieces,  of  which  there  are  no  examples 
in  this  series,  and  is  sometimes  so  slight  that  the  pieces  have 
to  be  wetted  before  it  can  be  seen.  This  is  why  you  see  people 
wet  their  finger  and  rub  the  coral  surface. 

No.  605.  A  coral  gourd-shaped  bottle  with  four  bulbs. 
Height,  12  inches.  No  mark  ;  two  blue  rings.  The  arabesque 
scroll  work  of  chrysanthemums,  with  which  this  piece  is 
decorated,  has  evidently  been  traced  in  red,  and  the  colour 
applied  between  the  lines  marking  out  the  pattern.  This  seems 
always  to  have  been  the  method  followed  in  the  earlier  times, 
but  later  on,  as  in  the  case  of  No.  266,  at  least  where  the 
decoration  was  of  a  simple  nature,  the  red  seems  to  have  been 
applied  first  and  then  removed  probably  by  a  pointed  piece 
of  bamboo  where  it  was  desired  that  the  white  ground  should 
show  through,  and  so  form  a  white  pattern  on  the  red  ground. 
This,  of  course,  had  to  be  done  before  the  piece  was  fired  to 
fix  the  colouring.     This  piece  belongs  to  Mr.  Hy.  Willett. 

No.  606  represents  another  of  these  coral  pieces — a  beaker. 
Height,  9 1  inches.  No  mark ;  two  blue  rings.  Here  the 
decoration  is  marked  off  as  in  the  previous  case,  the  white 
convolvulus  arabesque  showing  up  on  the  red  ground ;  but  this 
piece  is  out  of  the  common  in  that  in  the  centre  the  arabesque 
VOL.   II.  g  1 


356  KANG-HE. 

is  in  aubergine  on  a  green  ground,  both  enamels  being  of  fine 
quality. 

Poivdered  Blue  (see  p.  167). 

This  seems  to  belong  for  the  most  part  to  the  second  half 
of  this  reign,  and  the  best  pieces  date  therefrom. 

Poivdered  Blue  with  Bed  over  the  Glaze. 

In  No.  607  we  have  an  excellent  example  of  powdered  blue 
with  rouge  de  fer.  A  club  vase.  Height,  18  inches.  No 
mark.  This  is  one  of  those  attractive  pieces  where  the  red 
carp  show  up  on  the  blue  ground,  while  the  effect  is  further 
heightened  by  the  liberal  use  of  gilt,  as  in  this  instance,  where 
the  smaller  fish  and  the  water-plants  are  in  gold.  As  is 
generally  the  case,  this  piece  has  four  red  fish. 

Poivdered  Blue  tvith  Famille  Verte. 

In  addition  to  the  last  number,  we  are  indebted  to  Mr. 
Simons  for  No.  608,  a  powdered  blue  plate.  Diameter,  15J 
inches.  Mark,  similar  to  No.  483.  Here,  again,  the  blue 
surface  is  covered  with  a  gilt  diaper  on  the  rim,  and  a  gilt 
arabesque  on  the  bottom.  The  rim  is  broken  by  eight  reserves 
which  are  decorated  with  emblems  and  symbolical  animals. 
In  the  centre  there  is  a  famille  verte  scene.  This  is  an  un- 
usually nice  plate  of  its  kind. 

No.  609.  Cylindrical  porcelain  club  vase.  Height,  17J 
inches.  No  mark.  This  is  a  lovely  specimen  of  powdered 
blue,  the  large  white  reserves  being  filled  with  figures  of  ladies, 
etc.,  in  the  most  brilliant  famille  verte  enamels,  the  smaller 
medallions  with  landscapes  and  flowers,  while  over  the  body  of 
the  vase  on  the  powdered  blue  there  is  a  gilt  scroll  work. 
Compare  this  with  No.  278,  as  also  with  Nos.  551,  569  to  572. 
They  are  all  the  regular  Kang-he  shape,  which  we  will  leave 
behind  as  we  travel  on.  "  Is  simply  a  picture  from  the  artist's 
imagination  of  a  woman  playing  with  a  kitten." 

Green  Celadon. 

The  following  three  numbers  belong  to  Mr.  G.  K.  Davies: — 

Nos.  610,  611.  "A  pair  of  camelia   green   altar  vases  or 

beakers,  8f  inches  in  height.     They  are  covered  all  over  with 


607 


[To  face  p.  356. 


608. 


[To  face  p.  356. 


609. 


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BLUE  AND   WHITE   WITH   GREEN.         357 

a  brilliant  glaze,  under  which  runs  an  even  crackle,  the  colour 
also  is  quite  uniform  and  very  bright.  They  are  in  fine 
preservation,  and  show  little  or  no  signs  of  ill-usage  through 
scratches  and  rubbing,  to  which  so  many  of  the  greens  have 
been  subjected.  They  were  sent  to  me  direct  from  China  some 
fifteen  years  ago,  by  Mr.  Burman,  and  are  undoubtedly  of  the 
Kang-he  era." 

No.  612.  "  The  centre  piece,  a  globular  vase  with  scalloped 
lip,  8  inches  in  height,  representing  a  pomegranate,  is  almost 
identical  in  colour  to  the  altar  vases,  but  is  covered  all  over  with 
rather  a  smaller  crackle,  and  has  much  less  glaze.  Whether 
this  is  intentional,  or  whether  the  glaze  has  worn  off  with  age, 
it  is  difficult  to  say,  but  I  am  inclined  to  believe  that  it  never 
was  intended  to  have  the  same  brilliant  surface  as  the  altar 
pieces.     Kang-he  era." 

Blue  and  White  with  Green  Enamel  over  the  Glaze. 

Nos.  613,  614,  615.  A  blue  and  white  pear-shaped  bottle 
with  long  neck.  Height,  9J-  inches.  Mark,  two  blue  rings. 
This  is  one  of  the  pieces  decorated  in  blue  and  white,  along 
with  which  green  enamel  is  introduced  in  very  limited  quantity. 
In  this  case,  the  palm  tree,  the  tufts  of  grass,  and  small  por- 
tions of  the  gentleman's  dress  are  in  green.  There  is  also  a 
brown  twig  or  two. 

"  These  represent  Yang  She  and  Yu  Tso  on  their  way  to 
receive  instruction  from  the  celebrated  scholar  Ch'eng  Ch'u 
of  the  Sung  dynasty.  Attendants  are  seen  carrying  a  banner, 
playing  on  a  musical  instrument,  and  carrying  books,  etc." 

In  the  "  Biographical  Dictionary,"  Professor  Giles,  at  p. 
912,  gives  the  following  account  of  these  scholars:  "Yang 
Shih  (a.d.  1053-1135).  A  native  of  Chiang-lo  in  Fuhkien. 
He  graduated  as  Chin  shih  in  1077,  but  declined  to  take  office, 
and  enrolled  himself  as  a  disciple  under  Ch'eng  Hao,  who  was 
then  at  Ying-ch'ang  in  Honan.  On  the  death  of  the  latter,  he 
joined  the  still  more  famous  brother,  Ch'eng  I,  at  Lo-yang, 
and  remained  with  him  until  1087,  behaving  towards  him  with 
the  utmost  deference.  On  one  occasion,  when  the  master  had 
dozed  off,  Yang  Shih  would  not  wake  him,  but  remained  stand- 
ing at  the  door  so  long  that  a  foot  (some  say  three  feet)  of  snow 
fell  in  the  interval,  before  the  sleeper  awaked.     After  that  he 


-I 


58  KANG-HE. 


held,  several  appointments  as  magistrate,  and  his  administration 
was  uniformly  successful.  He  was  an  opponent  of  Wang  An- 
shih,  and  it  was  through  his  denunciation  that  Wang's  tablet 
was  removed  from  the  Confucian  temple.  The  peace  arranged 
with  the  China  Tartars,  in  1126,  caused  him  to  resign  the 
important  posts  to  which  he  had  been  appointed,  and  he  retired 
into  private  life,  and  continued  awhile  the  course  of  study  and 
teaching  which  had  always  been  his  chief  solace  and  enjoyment. 
Canonised  in  1495,  his  tablet  was  placed  in  the  Confucian 
temple." 

Bed  Celadons. 

No.  610.  Bottle.  Height,  15h  inches.  Mark,  Kang-he,  in 
three  columns.  Ts'ang  Ying-hsiian,  who  was  at  King-te-chin 
towards  the  end  of  this  reign,  is  said  to  have  given  great  atten- 
tion to  these  and  under  the  glaze  reds,  and  this  may  very  well 
be  one  of  his  pieces.  The  base  is  glazed,  and  the  decoration 
consists  of  a  five-claw  dragon  in  midst  of  clouds.  Like  all 
these  reds,  the  particular  shade  is  difficult  to  describe,  and 
seems  to  alter  according  to  the  light.  At  places  it  is  a  rich 
bright  madder,  which  turns  by  degrees  into  smoke-coloured 
clouds.  The  shades  are  so  varied,  that  it  is  difficult  at  any 
spot  to  fix  upon  the  particular  degree  of  colour.  A  sentence 
in  a  letter  Mr.  Winthrop  sent  from  Boston,  U.S.A.,  upon 
another  subject,  unintentionally  very  aptly  describes  these  reds 
that  came  into  being  towards  the  end  of  this  reign  :  "  A  lady 
here  has  a  beautiful  little  collection  of  bottles  of  self-coloured 
reds  (No.  812),  ranging  from  '  Peach  blow '  to  '  sang  de  bceuf,' 
about  sixteen  in  all.  They  would  average  about  10  inches  in 
height,  and  are  certainly  very  pretty,  and,  I  have  been  told, 
cost  a  great  deal  of  money."  This  good  lady,  we  see,  had 
secured  some  sixteen  shades  of  these  beautiful  but  undescribable 
reds,  and  will,  no  doubt,  find  that  she  can  still  add  to  her 
collection.  It  would  be  much  better  if,  instead  of  buying  a 
piece  of  this  and  that,  private  individuals  were  to  take  up  a 
particular  class  and  exploit  it  thoroughly,  the  collection  would 
be  more  interesting  and  more  valuable  than  one  of  odds  and 
ends.  The  lady  referred  to  above,  seemingly  collects  with 
method,  and  it  would  be  well  if  more  of  us  followed  her 
example. 


00 

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GREEN    UPON   BLUE.  359 

These  reds  were  originally  the  result  of  chance  transmuta- 
tion in  the  furnace,  but,  by  this  time,  the  Chinese  understood 
the  mixing  of  the  pigments  and  the  regulating  of  the  furnace* 
so  as  to  be  able  to  leave  but  little  to  chance.  This  matter, 
however,  has  been  treated  under  the  heading  "  Peach  bloom." 

Red  and  Blue  under  the  Glaze. 

No.  617.  Deep  dish,  decorated  in  blue  and  red  under  the 
glaze.  Diameter,  14  inches ;  height,  3  inches.  No  mark. 
This  dish,  like  No.  312,  has  a  fluted  stand,  which  used  to  be 
considered  a  sign  of  Ming  origin,  but  this  dish  has  a  brown 
edge,  and,  beyond  all  doubt,  a  large  number  of  these  fluted 
stands  were  turned  out  during  this  reign.  The  sides  are 
decorated  with  fish,  crabs,  prawns,  shell-fish,  and  other  such- 
like articles  of  food,  on  which  the  Chinese  place  a  high  value. 
Just  above  the  carp,  the  reader  will  notice  some  leaf-like 
objects  next  to  a  prawn;  these,  no  doubt,  are  intended  for 
heche-de-mer,  or  sea-slug,  which  is  considered  a  great  delicacy  ; 
it  is  found  in  the  tropical  waters  of  the  Indian  Archipelago 
and  Pacific,  and,  after  having  been  dried,  is  imported  into 
China.  In  the  centre  the  decoration  consists  of  a  red  carp  in 
the  act  of  jumping  a  cataract,  and  so  winning  dragonhood  (see 
p.  163)  ;  the  river  is  blue,  but  on  it  are  prunus  blossoms,  in 
red  (see  p.  155),  showing  that  it  is  spring  time,  when  the  fish 
naturally  ascend  the  river.  It  is  a  curious  thing  that,  although 
the  Chinese  legend  refers  to  the  sturgeon  of  the  Yellow  Kiver, 
still,  in  ceramic  art,  the  fish  seems  always  to  be  represented  as 
a  carp.     At  top,  a  red  sun  rises  above  the  river  mist. 

The  lesson  intended  to  be  taught  by  this  dish  is  probably 
that  industry  and  perseverance,  as  shown  in  the  carp,  will 
bring  wealth  as  portrayed  in  the  border  (see  p.  91). 

The  base  is  glazed,  and  outside  the  dish  is  decorated  the 
same  as  in  the  centre  with  blue  water,  red  flowers,  and  four 
blue  fish. 

Green  upon  Blue. 

This  is  not  a  usual  combination,  but  it  is  to  be  met  with  as 
in  No.  618.  A  dish — diameter,  1-1A  inches  ;  height,  3  inches  ; 
mark,  Kang-he  in  two  blue  rings,  which  has  all  the  look  of 
being  one  of  the  Imperial  factory  nien-hao.      The  surface  of 

VOL.    II.  G   2 


36c  RANG- HE. 

this  dish  is  entirely  covered  with  a  dark  mazarine  blue,  except 
where  the  green  dragons  and  nebulae  appear ;  the  only  white 
to  be  seen  is  the  uncolourecl  edge  of  the  dish. 

Peach  Bloom. 

No.  619  is  a  flat  gourd-shaped  piece.  Height,  16  inches.  No 
mark.  The  stand  is  concave  and  unsdazed.  Here  we  have  what 
is  not  uncommon — peach  bloom  employed  along  with  other 
coloured  glazes  in  the  decoration  of  white  porcelain.  The  oval- 
shaped  stand  is  decorated  with  primus,  white  (relieved  with  red) 
upon  blue  ;  on  the  lower  bulb  two  bats  extend  their  blue  wings 
so  as  to  meet  at  each  side ;  the  middle  bulb  is  in  the  form  of  a 
pomegranate ;  while  the  top  one  represents  a  peach.  This 
piece  is  one  of  a  pair,  perhaps  originally  intended  to  hold  flower 
sprays,  or  as  candlesticks,  such  as  are  used  at  weddings.  Be  this 
as  it  may,  apart  from  being  made  of  rather  rough  porcelain, 
they  cannot  be  said  to.be  particularly  artistic  or  decorative  ;  but 
all  the  same,  in  many  ways  they  are  delightfully  quaint,  and, 
in  the  eyes  of  a  collector,  perfectly  unique  as  samples  of  peach 
bloom  on  account  of  the  liberal  manner  in  which  the  same  is 
splashed  with  so  called  "  verdigris." 

Dr.  Bushell  describes  peach  bloom  as  "  a  pale  red  becoming 
pink  in  some  parts,  in  others  mottled  with  russet  spots  dis- 
played upon  a  background  of  light  green  celadon  tint,"  and 
ascribes  this  shade,  as  also  the  well-known  sang  de  bamf,  to  the 
inventive  genius  of  Ts'ang  Ying-hsiian,  who  was  a  director  of 
the  Government  works  at  King-te-chin  towards  the  end  of  the 
Kang-he  period.  Mr.  Hippisley,  referring  to  a  particular 
instance  which  he  quotes  as  a  Yung-ching  specimen,  seems  to 
consider  the  "  dull  white  pink  shade  upon  an  underground  of 
pale  sea-green,"  merely  to  result  from  a  trick  of  the  brush. 
He  goes  on  to  say,  "  in  some  specimens  the  underground  forces 
itself  into  notice  in  the  form  of  splashes  on  the  pink  ;  "  but  in 
the  majority  of  pieces  known  by  this  name,  green  does  not 
appear  at  all,  and  we  merely  have  the  dull  pink  shade  more  or 
less  mottled  with  russet  spots. 

In  the  case  of  No.  619  now  under  consideration,  with  the 
exception  of  a  little  round  the  seeds  of  the  pomegranate,  the 
green  is  confined  to  the  lower  bulb.  On  the  body  of  the  bat 
and  upper  part  of  the  wings  the  red  as  seen  at  the  edges 


G19. 


[To  face  p.  360. 


PEACH   BLOOM.  361 

appears  to  have  been  put  on  by  hatching,  but  the  colour  seems 
to  have  fused  in  the  fire,  and  now  mixed  with  green  entirely 
hides  the  porcelain.  Where  the  green  came  from  there  is  nothing 
to  show.  The  red  is  of  a  bright  pinky  hue,  in  some  lights  almost 
claret-coloured,  without  russet  spots,  while  the  green  is  of  a 
celadon  shade.  Below  the  bat,  on  what  is  probably  intended  to 
represent  a  peach  (see  No.  49),  in  the  middle  of  a  ground  of 
bright  transparent  pink,  there  is  an  egg-shaped  patch  of  dull 
green  which  also  seems  to  have  fused  and  run  down  a  little 
semicircular  groove  moulded  in  the  china,  probably  to  give  the 
contour  of  a  peach  ;  at  places  the  pink  shows  though  the  green. 
The  "  russet  spots  "  are  chiefly  on  the  white  porcelain,  and 
seem  to  consist,  when  of  any  size,  of  pink  rings  with  green 
centres.  On  the  middle  bulb  the  peach  bloom  is  of  the 
usual  type,  without  green,  so  that  we  have  three  kinds  exemplified 
in  this  one  piece. 

In  the  present  instance,  the  brush  and  the  fire  seem  to  have 
worked  together  to  bring  about  the  desired  effect,  the  colouring 
is  far  too  evenly  placed  to  be  due  to  chance  transmutation  in 
the  furnace  ;  but  we  must  remember  that,  by  the  end  of  the 
reign  of  Kang-he,  the  Chinese  had  obtained  control  over  most 
of  the  protean  colours  and  could  arrange  for  their  mingling  in 
the  oven.  Speaking  of  this  transmutation,  Pere  d'Entrecolles 
says,  "  the  workmen  intended  to  make  vessels  of  brown-red,  but 
a  hundred  pieces  were  entirely  lost,  and  this  which  I  am 
speaking  of  came  out  of  the  furnace  like  a  kind  of  agate.  If 
they  would  run  the  risk  and  expense  of  various  experiments 
they  might  at  length  discover  the  art  of  making  constantly 
what  chance  has  once  produced,  in  the  same  manner  as  they 
have  learnt  to  make  the  shining  black  china,  called  U-king ; 
to  which  they  were  excited  by  such  another  caprice  of  the 
furnace."  We  see  from  this  that,  once  the  fire  had  shown  what 
was  possible,  it  was  a  mere  matter  of  time  and  money  to  find 
out  the  secret. 

The  pink  shade  referred  to  here  must  not  be  confused  with 
the  rose  enamel  of  the  next  two  reigns.  This  transparent  pink 
glaze  came  from  copper,  the  rose  enamel  from  gold. 

Peach  bloom,  like  sang  de  bceuf,  is  the  result  of  the  grand 
feu  and  belongs  to  the  celadon  class,  and  appears  on  pieces 
decorated  under  the  glaze. 


-v 


62  .      KANG-HE. 


Mr.  Winthrop  writes :  "  Ked  '  au  grand  feu,'  the  red  under- 
glaze,  such  as  the  '  sang  de  boeuf '  and  those  of  its  family, 
slide  away  until  they  reach  the  i  peach-blow,'  which  is  only  a 
1  sport,'  and  between  which  and  the  '  sang  de  boeuf '  there  is 
no  dividing-line.  A  vase  of  mine  in  the  island  is  about  mid- 
way between  a  light  '  peach-blow '  and  '  sang  de  bceuf.'  But 
I  have  a  larger  one  of  the  deepest  '  sang  de  bceuf '  also." 

Our  American  cousins  were  the  first  to  bring  peach  bloom 
into  fashion,  and  it  occupies  in  the  United  States  much  the 
same  position  as  sang  de  boeuf  does  in  France. 

The  blue,  which,  in  addition  to  the  places  stated  above, 
decorates  the  foliage  on  the  pomegranate  and  peach,  as  also  the 
sweet  flag  border  on  the  neck,  is  of  the  old  slate  shade,  valued 
by  collectors  on  account  of  its  rarity,  in  fact,  looks  more  like 
a  celadon  than  the  ordinary  blue  under  the  glaze.  This  piece 
probably  belongs  to  the  Keen-lung  period,  but  is  taken  here 
so  as  to  notice  this  colour  at  what  we  may  consider  about  the 
date  of  its  origin ;  but  most  of  the  finest  specimens  of  peach 
bloom  belong  to  the  two  following  reigns. 

Ornamented  with  Raised  Figures. 

For  Nos.  620,  621,  we  are  indebted  to  Mr.  G.  K.  Davies. 
"  A  pair  of  long-necked  white  bottles,  8  J  inches  high. 
These  are  most  elegant  in  form ;  the  porcelain  is  very  white, 
and  of  fine  quality.  The  only  decoration  is  a  raised  dragon 
surrounding  the  lower  part  of  the  neck  and  upper  part  of  the 
body,  and  this  is  coloured  in  a  delicate  shade  of  peach  bloom, 
flecked  all  over  with  green  markings  to  represent  the  scales. 
These  bottles  are  of  very  high  class,  and  are  marked  at  the 
base  with  the  six  characters  of  the  Kang-he  era.  I  have  no 
recollection  of  ever  having  seen  duplicates  in  any  of  the 
collections  I  have  visited." 

Many  of  the  small  vases  made  towards  the  end  of  this 
reign  are  most  beautifully  shaped,  apparently  owing  to 
European  influence,  most  of  them  being  decorated  in  lovely 
"  whole  "  colours. 

Mazarine  Blue  and  Peach  Bloom. 

Nos.  622,  623.  Exhibited  Burlington  Fine  Arts  Club, 
1891.      Description,   482   and   483.      "A    pair    of    globular 


1 

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FAMILLE  VERTE.  363 

bottles  with  long  necks,  8  inches  high.  They  are  covered 
with  a  bright  mazarine  blue  enamel,  which  is  opaque  and  not 
like  the  powder  blue,  though  the  colour  much  resembles  the 
more  brilliant  specimens  of  this  class.  There  are  three  leaf- 
shaped  reserves  in  white  on  each  bottle  surrounded  by  a 
narrow  dull  red  line  forming  the  leaf.  In  each  panel  is  a 
dog  in  peach  bloom  with  a  good  deal  of  verdigris  marking, 
each  doc  being;  different.  I  have  seen  two  or  three  bottles 
somewhat  similar  in  decoration,  but  the  blue  grounds  have 
been  dull,  and  the  dogs  of  a  smoky  dark  red  almost  claret 
colour,  not  at  all  like  the  rich  luscious  colouring  of  the  peach 
bloom  in  these,  nor  could  the  blue  ground  in  any  way  compare 
to  them.  I  look  upon  them  as  a  very  rare  pair  of  bottles,  and, 
though  not  marked,  they  undoubtedly  belong  to  the  Ivang-he 
era,  1661-1722." 

Famille  Verte  ivith  Blue  Enamel. 

We  are  now  getting  to  the  end  of  this  reign,  when  this 
class  shows  more  careful  painting  then  in  the  earlier  specimens. 

No.  624.  In  sending  the  photograph  reproduced  here,  Mr, 
Winthrop  wrote  as  follows  : — 

"  The  most  brilliant  piece  of  famille  verte  I  know  is  the 
cylindrical  vase  that  appears  on  the  left.  The  greens  are  very 
dark  and  blackish,  the  ground  of  the  vase  being  a  red  floral 
diaper,  the  red  being  merely  filled  in  and  the  white  the  natural 
porcelain.  Large  pale  green  chrysanthemums  break  this 
ground  at  intervals ;  the  green  of  transparent  enamel,  and 
the  shoulder  of  the  vase  has  a  typical  '  Ming '  border  of 
very  full  colours  extremely  carefully  executed  with  use  of 
some  transparent  enamels.  It  is  to  be  noticed  that  the  black 
used  in  decorating  the  panels  is  not  flat  or  mat,  but  bossed  up 
so  as  to  give  an  intense  effect.  The  decoration  of  the  neck 
consists  of  depending  foliage  somewhat  resembling  oats,  but 
really  the  blossoms  of  the  bamboo.  Instead  of  an  eagle  there 
is  a  crab  on  the  other  side.  The  two  upper  round  panels 
depict  crabs  and  shrimps  respectively,  and  the  two  lower  ones 
plants.  On  each  of  the  large  panels  is  a  leaf  and  sort  of 
seal  in  red  on  gilt  ground,  as  shown  in  the  drawing  on  the 
photograph,  actual  size.  One  of  the  four  round  panels  is 
signed  with  the  square  mark  only.     I  have   never  met  with 


'1 


64  KANG-HE. 


a  more  brilliant  piece  than  this.  It  is  marked  with  the  double 
ring  in  blue  under  the  foot.  There  is  something  about  it 
that  seems  to  suggest  Japanese  influence,  is  there  not  ? 

"  As  for  this  Japanese  influence,  it  is  hard  to  explain  it, 
and  has  been  of  long  duration,  as  I  have  myself  seen  in  France 
a  large  potiche  unquestionably  Chinese  of  the  early  part  of  the 
eighteenth  century,  decorated  so  as  to  precisely  resemble  the 
'  old  Japan '  jars  of  blue  and  red  that  ornament  every  English 
country  house,  standing  in  the  hall  or  on  each  side  of  the 
fireplace. 

"  No.  624  I  believe  to  have  been  decorated  by  a  Japanese 
(as  to  its  panels),  and  I  think  that  were  the  signature  in- 
vestigated it  would  prove  to  be  the  case.  The  borders  are 
done  by  a  Chinese  hand,  however.  I  have  no  books  on 
porcelain  here,  and  I  have  never  remembered  to  take  off 
a  tracing  of  the  mark  and  look  it  up  in  Chaffers  or  elsewhere." 

Unfortunately  Mr.  Winthrop  is  unable  to  describe  the 
other  pieces  on  this  photograph  from  memory. 

No.  625.  A  famille  verte  lancelle  vase  seems  to  be  an  unusual 
piece,  and  perhaps  of  rather  earlier  date ;  but  it  is  impossible 
to  say  in  what  colours  it  is  decorated.  As  seen  in  the  illustra- 
tion, we  probably  have  an  empress  standing  with  a  black 
attendant  holding  behind  her  the  nine  peacock  feathers, 
symbolical  of  rank,  but  these  are  said  not  to  have  been  used 
before  the  Ming  dynasty,  while  the  Zeuana  ladies  give  the 
following  as  the  description  of  this  vase :  "  This  depicts 
the  attire  of  the  ladies  of  the  harem  of  the  Han  dynasty." 

No.  626  is  evidently  one  of  those  large  full-moon  celadon 
bottles,  the  most  of  which  seem  to  belong  to  the  Keen-lung 
period,  and  Mr.  G.  E.  Davies  has  one  so  marked. 

No.  627  has  the  appearance  of  one  of  the  jars  decorated 
in  green,  which  belong  to  this  reign,  but  were  also  no  doubt 
made  later. 

No.  628  has  the  look  of  a  very  nice  piece,  but  is  probably 
of  later  date,  although  raised  figures  are  to  be  found  in  the 
productions  of  this  reign,  and  in  the  famille  verte  class. 

In  No.  629  we  have  a  similar  piece  to  No.  624.  This 
and  No.  630  belong  to  Mr.  G.  E.  Davies,  who  sends  the  follow- 
ing account  of  them : — ■ 

"  An  oviform  vase,  with  neck  gradually  sloping  outwards 


G29. 


[To  face  p.  364. 


630. 


[To  face  p.  365. 


FAMILLE  VERTE.  3^5 

at  tlie  top  to  form  the  rim  or  mouth.  Height,  17J  iuches. 
There  is  a  slight  rim  of  white  at  the  lip  of  the  vase,  theu  a 
faucy  diaper-design  border  in  red,  then  a  thin  line  of  white, 
folio  wed  by  a  scroll- design  with  aster  flowers  also  in  red 
on  the  neck ;  amidst  this  are  two  square  reserves,  each  con- 
taining flowers,  branches,  and  birds  in  purple,  green,  red,  etc.  At 
the  top  of  the  body  of  the  vase  is  another  thin  white  line,  then 
a  fancy  diaper  border  in  red,  on  which  are  four  white  reserves, 
surrounded  by  a  green  line,  in  which  are  shrimps  and  crabs  in 
aubergine  and  black,  with  slight  red  shading  to  represent 
water ;  then  another  thin  white  line  with  a  border  of  joo~e 
heads.  At  the  base  there  is  a  fancy  border  between  two  narrow 
white  lines.  The  whole  of  the  body  of  the  vase  is  covered 
with  a  scroll-design  and  aster  flowers  in  red,  as  on  the  neck. 
Amongst  this  decoration  on  the  body  are  eight  white  reserves. 
The  two  larger  ones  on  either  side  contain  flowers,  branches, 
and  birds  ;  the  two  oval  ones  below,  butterflies ;  the  two  upper 
reserves  at  the  sides,  various  utensils ;  and  the  lower  ones, 
which  are  in  form  of  a  pomegranate,  lotus  leaves  and  flowers, 
as  well  as  primus.  The  effect  of  this  red  groundwork,  with 
white  running  all  through  it,  is  extremely  pretty,  and  forms  a 
charming  background  to  the  white  reserves  with  their  brilliant 
enamels.  In  each  of  the  two  reserves,  on  the  neck,  is  a  small 
square  mark,  or  chop  with  a  leaf  hanging  over  it,  both  in  red. 
It  probably  denotes  the  artist's  name,  or  mark ;  but  of  this  I 
am  not  certain.  There  is  no  mark  of  the  reign,  but  it  is 
undoubtedly  a  piece  belonging  to  the  Kang-he  period.  It  was 
purchased  by  the  owner  in  China  in  1879.  .  .  .  Keferring  to 
what  you  say  as  to  No.  624, 1  see  no  trace  of  Japanese  influence 
in  the  painting  of  this  vase." 2G 

No.  G30.  "  A  large  Imperial  yellow  dish ;  loyV  inches  in 
diameter.  The  back  is  plain  yellow,  as  also  the  base,  and 
there  is  a  narrow  line  of  yellow  running  round  the  rim  of  the 
front  of  the  plate,  then  a  broad  band  between  black  lines  of 
red  decoration,  consisting  of  floral  dragons  and  lotus  flowers, 
with  scroll-stalks  and  foliage  on  the  yellow  ground,  the  yellow 

20  I  regard  this  as  tho  full  fat  decoration  of  the  latter  part  of  Kang-he,  and 
probably  the  richest  and  most  ornate  of  the  whole  series  of  Chinese  art — ■ 
not  borrowing  anything  from  Japan,  as  China  had  nothing  to  learn  from  Japan 
at  this  particular  period,— T.  J.  L, 


366        *  1CANG-HE. 

showing  through  the  red  decoration  and  producing  a  very  rich 
effect.  The  centre  of  the  plate  is  decorated  in  brilliant  enamels 
of  red,  green,  purple,  aubergine,  etc.,  with  rocks,  pseonies, 
golden  pheasants,  and  foliage ;  and  on  the  right-hand  side 
there  is  a  branch  of  hawthorn  in  aubergine  and  black,  with  red 
blossoms  and  green  leaves,  on  which  are  perched  two  birds  with 
aubergine,  purple,  and  yellow  plumage.  On  the  upper  portion 
of  the  centre  there  is  a  faint  cloud  in  red,  with  the  sun  above. 
In  the  left-hand  centre  are  two  marks,  one  square,  and  the 
other  oval  above  it ;  to  the  right  of  these  four  lines  of  writing, 
and  again  to  the  right  against  the  top  character,  a  half  leaf. 

This  is  without  doubt  a  Kang-ke  piece  (1661-1722),  and, 
owing  to  the  colour  of  ground  and  fine  enamels,  it  is  a  rarity." 

The  pheasants  seemingly  are  here  intended  to  represent 
phcenix  (see  p.  96).  The  following  is  the  account  of  this 
motive  received  from  China  : — 

"  This  is  called  the  picture  of  the  two  phoenixes  and  the 
preony  flowers.  The  phoenix  is  regarded  as  the  king  of  birds, 
and  the  paeony  as  the  king  of  flowers,  and  the  whole  scene 
represents  one  Mandarin  visiting  another. 

"  The  inscription  contains  two  stanzas  from  an  ode  to  the 
pasony.  During  the  T'ang  dynasty,  the  Emperor  Hiian  Tsung, 
while  looking  at  the  flowers  in  his  palace  gardens,  asked  one 
of  his  ministers  named  Ch'en  Hsin  Ki,  '  Who  has  written  the 
best  ode  on  the  pseony  in  our  capital  ?  '  The  minister  replied  by 
quoting  the  two  stanzas  here  written,  and  declared  them  the 
best  written  on  the  subject."  Unfortunately,  a  translation  of 
the  poem  has  not  been  sent. 

For  an  account  of  this  emperor,  see  p.  410. 

Famille  Verte  with  Blue  Enamel  vcitliout  Bed. 

This  is  from  the  Bennett  collection,  and  is  described  by 
Mr.  G.  K.  Davies  as  follows  : — 

No.  631.  "  An  inverted  pear-shaped  Imperial  ware  vase,  with 
creamy-white  ground  glaze ;  own  porcelain  cover.  Height, 
12  inches. 

"  It  is  decorated  in  famille  verte,  with  phoenixes  on  rock, 
birds  flying  and  on  branches,  flowers,  foliage,  lotus,  etc.  A 
fancy  floral  band  on  shoulder,  in  which  are  four  medallions 
with  love-birds,  and  a  green  band  at  base  with  a  key  pattern 


631. 


[To  face  p.  366. 


632. 


[To  face  p.  367. 


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FAMILLE   VERTE.  367 

in  black.     The  cover  is  closely  decorated  with  floral  and  other 
bands. 

"  The  colouring  of  the  enamels  on  this  vase  are  most 
brilliant,  but  the  whole  effect  is  somewhat  subdued,  as  no  red 
appears  in  the  decoration.  The  colouring  and  drawing  of  the 
stems  and  other  parts  are  most  artistically  carried  out,  and  are 
somewhat  similar  to  the  branches  and  trees  found  on  the 
family  of  vases  of  the  black  hawthorn  variety.  Marked  on 
the  base  with  the  six  characters  of  the  Kang-he  period  (1001- 
1722).     This  is  a  vrey  fine  and  rare  example." 

Famille  Verte  Eggshell. 

No.  632.  This  eggshell  lampshade,  height,  8  inches ;  no 
mark,  was  picked  up  by  Mr.  Burman  in  the  native  city  of 
Shanghai,  broken  and  stuck  together  with  great  brass  clasps. 
In  its  original  state  it  must  have  been  a  most  beautiful  speci- 
men of  Chinese  art.  The  colour  of  the  paste  is  very  white, 
and  nearly  as  thin  as  most  of  the  plates  of  later  date.  The 
enamels  with  which  it  is  decorated  are  excellent,  as  also  the 
drawing.  The  scheme  of  the  decoration  is  admirable,  the  piece 
being  divided  by  a  band  of  yellow  speckle-work  in  the  centre, 
on  which  are  thrown  red-tipped  flowers  with  green  centres 
among  green  scroll-work.  As  seen  in  the  photograph,  on  the 
upper  half,  a  labourer  is  busy  irrigating  by  means  of  a  bucket 
worked  on  a  bamboo  sling,  while  the  landscape  right  round 
both  top  and  bottom  is  most  charming. 

We  find  also  belonging  to  this  period  eggshell  bowls 
covered  with  a  buff-coloured  glaze,  and  decorated  with  symbols 
in  brilliant  green  and  other  coloured  enamels. 

Famille   Verte  with  Blue  Enamel. 

Nos.  633,  634,  represent  a  very  curious  and  quite  exceptional 
piece.  A  pear-shaped  vase  with  spreading  mouth.  Height, 
9^  inches.  No  mark.  The  shape,  although  not  uncommon  at 
this  period,  seems  to  indicate  European  influence ;  but  the 
strange  thing  about  this  piece  is  that,  with  the  exception  of 
the  base  and  inside  of  neck,  which  are  glazed,  it  is  left  in 
biscuit,  and  seems  to  have  been  polished  in  some  way,  or  very 
lightly  glazed,  for  it  is  as  smooth  and  fine  as  an  egg-  Then, 
vol.  11.  H 


368  KANG-HE, 

again,  the  decoration,  instead  of  being  in  rose,  as  one  would 
expect  on  a  vase  of  this  shape,  is  in  old  fainiHe  verte  style. 
In  Chinese  porcelain  there  is  always  something  cropping  up 
that  has  not  been  met  with  before,  and  which  is  very  difficult 
to  understand.  The  decoration  consists  of  a  lady  resting  under 
a  pine,  with  her  left  arm  supported  by  a  huge  green  pome- 
granate. Her  basket  and  hoe,  as  also  the  fungus  in  the 
basket,  is  in  aubergine,  but  the  trunk  of  the  tree,  like  the 
upper  part  of  her  dress,  is  in  a  reddy  brown.  Here,  however, 
the  colour  is  put  on  by  means  of  hatching.  Her  skirt  is  a 
rich  yellow,  which,  with  the  beautiful  green  glaze  of  the  foliage 
and  tippet  of  her  costume,  is  the  charm  of  the  piece.  The 
green  would  be  difficult  to  beat  by  that  on  any  Kang-hi  piece, 
and  the  combination  of  the  three  colours  gives  a  soft,  warm, 
pleasing  effect. 

"  This  lady  is  Ch'ang  Ngo,  who  is  fabled  to  live  in  the 
moon,  etc." 

Ch'ang-ngo.  "  The  lady,  wife  of  How  Yi,  who  is  fabled  to 
have  stolen  from  her  husband  the  drug  of  immortality,  which 
had  been  given  to  him  by  Si  Wang  Mu,  and  to  have  taken 
flight  with  the  precious  booty,  with  which  she  sought  refuge 
in  the  moon.  Here  she  became  changed  into  the  Ch'an-ch'u, 
or  frog,  whose  outline  is  traced  by  the  Chinese  on  the  moon's 
surface.  The  legend  is  found  in  the  works  of  Hwai  Nan  Tsze 
and  Chang  Heng,  but  the  ingenuity  of  commentators  has  been 
expended  fruitlessly  in  the  attempt  to  explain  its  origin " 
(Mayers,  p.  30). 

In  the  illustrated  catalogue  of  early  Ming  pieces,  translated 
by  Dr.  Bushell,  we  rind  mention  made  of  bottle-shaped  vases 
"  esteemed  for  holding  mutan  and  other  paeonies,  and  for  dif- 
ferent kinds  of  orchids,  and  have  small  mouths,  so  that  the  warm 
water  with  which  they  are  filled  may  not  give  out  vapour  of 
bad  odour."  Yases  seems  to  have  been  made  of  particular  shapes 
for  particular  flowers ;  while  we  read  of  vases  with  several 
mouths  "  for  holding  several  flowers,  so  as  to  allow  of  a  variety 
on  a  small  table." 

This  j)iece  was  probably  intended  as  an  imitation  of  the 
Ching-hwa  painting  in  enamels  on  biscuit,  the  art  of  painting 
in  colours  over  the  glaze  not  then  being  known,  but,  as  men- 
tioned in  No.  748,  the  ground  is  said  to  have  been  "  pure  white." 


KM 


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[To  face  p.  369. 


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-  FAMILLE  VERTE.  369 

Kang-he  Birthday  Plates. 

We  now  come  to  a  most  interesting  piece  from  the  Bennett 
collection,  viz.  one  of  the  celebrated  plates  said  to  have 
been  made  to  commemorate  the  sixtieth  birthday  of  Kang-he. 
Decorated  in  the  most  perfect  taste,  the  colouring  is  in  sub- 
dued shades,  and  they  do  not  seem  to  show  any  trace  of  rose. 
The  borders  in  a  bright  red  bistre  seem  alike  in  all,  but  the 
designs  in  the  centre  vary.  In  the  present  instance  we  have 
the  pea,  while  on  others  we  find  the  persimmon,  the  peach 
tree  and  bird,  lotus  and  ducks,  orange  or  citron  and  bird, 
peacock  and  flowering  tree.  Apart  from  their  beauty,  these 
plates  are  of  special  interest,  and  perhaps  by  rights,  should 
come  earlier  in  this  series. 

No.  635.  "A  white-ground  plate,  10  inches  in  diameter, 
surrounded  by  a  coral-red  fancy  border,  in  which  are  four 
medallions.  In  these  four  characters  originally  existed,  signify- 
ing that  the  plate  was  made  for  presentation  to  the  Emperor 
Kan£-he  on  his  sixtieth  birthdav.  For  some  reason  the 
characters  in  the  medallions  have  been  rubbed  out.  The 
decoration  of  the  plate  consists  of  a  large  grasshopper,  in  sepia 
of  various  shades,  resting  on  the  green  stems  and  foliage  of 
peas,  which  show  the  open  pods  with  the  seeds  in  them. 

"  Marked  on  the  base  with  the  six  characters  of  the  Kang-ho 
era  (1601-1722)  in  double  blue  rings,  to  which  period  it  un- 
doubtedly belongs.  These  Kang-he  birthday  plates,  as  they 
are  ordinarily  called,  are  extremely  uncommon,  and  are  in- 
variably painted  with  great  delicacy  and  care,  and  the  writer 
has  only  to  his  knowledge  seen  four  of  them,  three  of  which 
are  in  this  collection,  but  since  writing  the  above  he  learns 
that  there  are  four  more  in  the  Grandidier  collection  in  Paris." 
On  these  the  characters  are  intact,  and  mean  "  longevity  with- 
out limit." 

Famille  Verte  with  Blue  Enamel. 

Kos.  636,  637,  638,  639,  represent  a  pair  of  bowls  made  of 
very  fine  white  porcelain,  decorated  in  enamels  of  subdued 
colour  but  great  transparency.  Diameter,  8  J  inches ;  height, 
3  inches.  No  mark.  Except  for  the  famille  verte  band  at 
the  rim  inside,  which  has  all  the  look  of  this  period,  one  would 


37o  KANG-HE. 

be  inclined  to  ascribe  them  to  a  later  date,  but  they  appear  to 
be  of  interest  as  showing  the  change  that  had  taken  place  in 
the  famille  verte  style  of  decoration  even  before  the  Yung- 
ching  period.  Disporting  themselves  among  water-plants  of 
various  colours  are  four  fish,  viz.  one  in  green,  fins  and  tail  in 
a  darker  shade  lined  in  black ;  a  goldfish  in  red,  lined  in 
a  darker  shade ;  a  sturgeon  (?)  in  a  beautiful  dark-brown 
aubergine,  which  takes  a  lighter  shade  on  the  head,  tail,  and 
fins,  the  belly  being  yellow ;  a  carp  in  indigo  blue,  with  green 
tail  and  fins.  These  four  fish  are  very  charming,  and  the 
whole  scheme  of  decoration  is  most  pleasing.  In  this  country 
bowls  are  objected  to  as  awkward  things  to  display ;  but  being 
in  everyday  use  in  China,  we  often  find  on  them  examples  of 
the  best  workmanship  and  colouring,  no  doubt  specially  ordered 
by  wealthy  Chinese  anxious  when  entertaining  their  friends  to 
set  everything  of  the  best  before  them.  M.  Grandidier  seems 
to  appreciate  bowls,  and  has  a  wonderful  collection  of  them. 

On  these  bowls  wre  have  no  trace  of  rose,  but  at  the  same 
time  we  have  evidence  that  the  grand  old  famille  verte  was 
yielding  to  the  call  for  a  higher  technique,  the  outcome  of 
which  we  have  in  the  exquisite  miniature  style  of  decoration, 
with  and  without  rose  tints,  that  emanated  from  King-te-chin 
during  the  next  thirty  years  or  so. 

AVe  cannot  do  better  than  wind  up  this  famille  verte 
class  with  Mr.  G.  K.  Davies'  celebrated  black  vase,  which 
is  clearly  about  the  last  of  the  race.  He  describes  it  as 
follows : — 

Nos.  640,  641.  "Exhibited  Burlington  Fine  Arts 
Club,  1896 ;  description,  No.  oS6.  An  oviform  vase,  almost 
identical  in  form  to  Xo.  629.  Height,  17^  inches.  There 
is  a  narrow  white  rim  at  lip,  followed  by  a  key-pattern 
border  in  black  on  green  ground,  then  a  thin  line  of  aubergine, 
followed  by  another  border  of  curl  work  in  black  on  green, 
with  slight  scalloped  border  of  aubergine.  The  neck  of  the 
vase  is  covered  with  a  black  enamel,  over  which  runs  a  flowing 
floral  design  in  green,  to  which  are  attached  apparently  single 
blossoms  of  the  primus  in  red,  purple,  aubergine,  and  yellow, 
with  occasional  leaves  in  several  greens.  Here,  again,  is  the 
same  border  reversed  of  curl  wTork  on  green  with  the  scalloped 
border  of  aubergine,  as  it  were  to  finish  off  the  painting  of  the 


© 
I— 

CO 


FAMILLE   VERTE.  371 

neck.  On  each  side  of  the  neck  is  a  fancy  leaf-shaped  panel — 
one  containing  a  lake  scene  with  boat  and  fisherman,  and  the 
other  a  mountainous  landscape;  both  these  are  depicted  in 
brilliant  enamels  of  black,  purple,  yellow,  and  aubergine,  and 
various  shades  of  green.  Below  the  last-mentioned  band 
comes  another  between  double  lines  of  aubergine,  consisting 
of  fine  speckle  work  in  black  on  a  pale  green  ground,  chry- 
santhemums in  various  colours,  with  slight  tracing  of  stalks 
in  black,  and  green  leaves.  Below  this,  on  the  shoulder,  is  a 
broader  band  of  black  fishroe  showing  through  on  olive-coloured 
enamel,  over  which  runs  the  same  green  scroll  ground  with 
coloured  flowers,  and  in  this  band  there  are  four  white  reserves 
surrounded  by  narrow  lines  of  yellow  and  black.  The  reserves 
contain  fish  in  red  and  gold  amongst  seaweed.  There  is  yet 
even  another  border,  or,  I  may  say,  two  very  narrow  ones — the 
first  of  black  enamel  with  green  tracery  and  small  coloured 
flowers,  and  the  second  of  small  joo-e  heads  in  purple,  green, 
and  aubergine,  fringed  with  narrow  yellow  line.  Then  comes 
the  body  of  the  vase  covered  with  the  black  enamel,  green 
tracery,  and  coloured  flowers,  as  on  the  neck.  On  each  face 
of  the  vase  is  a  large  white  reserve,  with  border  of  yellow  and 
black — one  containing  the  drawing  of  a  primus  tree  in  auber- 
gine and  black,  with  flowers  in  red  and  gold  on  a  pale  green 
ground,  a  few  bamboo  leaves,  and  bird  with  yellow,  purple,  and 
aubergine  plumage  sitting  on  stem ;  the  other  containing 
paeonies,  rocks,  and  other  flowers,  with  crested  bird  on  trunk 
in  yellow,  red,  purple,  and  aubergine.  At  each  side  there  are 
two  reserves  in  white,  the  upper  ones  surrounded  by  yellow 
and  black  lines.  They  contain  insects  and  flowers  ;  the  lower 
leaf-shaped  panels  having  cocks  and  insects.  Below  the  body 
is  a  sort  of  fancy  border  in  yellow,  red,  aubergine,  and  black, 
on  a  pale  green  ground. 

"The  enamels  used  in  the  decoration  of  this  vase  are 
brilliant  in  the  extreme,  the  drawing  both  in  the  panels  and 
the  groundwork  is  most  artistically  carried  out,  and  the 
porcelain  itself  is  of  the  finest  quality.  It  may  be  egotistical 
to  say  so,  but  I  have  no  recollection  of  ever  having  seen  a 
piece  to  equal  it  in  refinement  and  brilliancy  in  any  of  the 
collections  of  America  or  England.  It  has  no  mark,  but  is 
pronounced  by  experts  to  belong  to  the  latter  part  of  the 


372  KANG-HE. 

Kang-he  era  (1661-1722).     It  was  purchased  by  the  owner  in 
China  in  1879." 

Compare  this  with  No.  651. 

Blue  and  White  ivith  other  colours  under  the  Glaze. 

No.  642.  A  beaker  of  rather  fine  porcelain  and  workmanship. 
Height,  17J  inches.  No  mark.  Blue  and  white,  with  peach 
bloom.  The  decoration  consists  of  pine-trees,  with  the  eight 
famous  steeds,  half  the  number  being  on  the  top,  and  the 
other  half  on  the  lower  part  of  the  beaker.  One  point  which 
recommends  these  pieces  to  the  collector  is  the  brilliancy  of 
the  blue,  which,  let  alone  other  considerations,  would  seem  to 
establish  their  right  to  belong  to  the  Kang-he  period.  There 
is  a  similar  beaker  to  this  in  the  Franks  collection  at  the 
British  Museum.  Some  of  the  horses  are  in  blue,  the  others 
in  a  sort  of  peach  bloom,  while  the  trunk  of  the  pine  is  in  a 
dull  red.  The  painting  has  much  the  look  of  being  by  the 
same  artist  as  Nos.  233,  234,  and  the  colour  on  the  trunk  of 
the  pine  is  also  put  on  by  means  of  hatching. 

Celadon  with  Blue  and  White  and  Beach  Bloom. 

No.  643.  A  beaker — height,  18  inches.  Mark,  two  blue 
rings.  Covered  with  a  fine  light-coloured  celadon  glaze,  the 
four  circular  reserves  are  ornamented  with  phoenix  in  blue  and 
white,  and  peach  bloom,  while  the  four  dragons  are  slightly 
embossed,  and  decorated  with  the  same  colours.  The  symbols 
are  in  blue,  and  slightly  raised  above  the  surface.  This  piece 
probably  celebrates  some  wedding,  the  dragon  representing 
the  bridegroom,  and  the  phoenix  the  bride. 

Bose. 

Although  we  always  talk  of  rose,  the  red  from  gold,  as 
belonging  to  the  Yung-chin g  and  Keen-lung  periods,  still 
there  is  every  reason  to  believe  that  its  discovery  was  made  at 
the  end  of  the  reign  of  Kang-he,  and  the  bowls  shown  in 
Nos.  644,  645  are  of  interest  as  seeming  to  confirm  this. 
Diameter,  8  inches  ;  height,  3 J  inches.  Mark,  Kang-he  in 
two  blue  rings.  Dr.  Bushell,  at  p.  25,  tells  us  :  "  Chinese 
attach  little  value  to  marks  except  on  pieces  from  Imperial 
factory ; '    and    in  this  case    the  reader  will  notice   that   the 


643. 


642.        [To  face  p.  372. 


CO 


CAG. 


647. 


[To  face  p.  373. 


EGGSHELL.  373 

mark  is  in  the  well-made  characters  we  find  on  those  pieces, 
while  the  paste  and  green  enamel  all  seem  to  point  to  the 
genuineness  of  the  mark.  Here,  outside,  as  in  the  case  of 
Nos.  360,  3G1,  the  glaze  is  peculiar,  in  this  instance  showing 
a  very  slight  pink  "  reflet "  when  held  in  certain  angles  to 
the  light.  The  decoration  consists  of  the  primus,  pocony,  lotus, 
and  chrysanthemum  springing  from  the  base.  Some  of  the 
flowers  are  in  iron  red,  but  the  larger  are  in  opaque  pink  and 
white  enamels  just  as  we  find  them  in  the  following  reigns. 
The  design  is  sketched  in  sepia,  which  shows  through  the 
green  enamel.  The  trunk  of  the  primus  is  in  a  sort  of 
aubergine,  which  reflects  a  metallic  lustre  in  certain  lights. 

Inside,  the  only  decoration  is  two  rose  peaches,  with  a 
small  iron-red  bat  among  a  patch  of  green  foliage,  the  whole 
forming  a  sort  of  circle  about  two  inches  in  diameter  at  the 
bottom. 

There  is  no  sign  of  re-decoration  about  these  bowls,  while 
the  mark,  being  in  blue  under  the  glaze,  cannot  have  been  added 
at  a  later  date.  Of  course,  these  bowls  may  have  been  in 
stock  at  the  Imperial  factory  when  Kang-he  died,  and  been 
decorated  in  the  next  reign,  but  even  that  would  seem  to 
place  the  introduction  of  rose  in  the  Kang-he  period,  as  it 
is  not  likely  that  they  would  be  left  long  undecorated  at  the 
factory. 

Eggshell. 

No.  646.  Bowl  of  very  white  eggshell  porcelain,  fitted  with 
a  metal  rim.  Diameter,  9  inches  ;  height,  3  inches.  No  mark. 
Decorated  inside  with  a  slightly  raised  pattern  moulded  in 
the  paste,  the  subject  being  a  phoenix  amidst  a  scroll-work  of 
fungus.  In  No.  647  the  decoration  is  engraved,  while  in  this 
it  is  raised. 

Why  bowls  like  this  one  seem  often  to  be  fitted  with  a 
metal  rim,  and  those  like  No.  647  not,  it  is  difficult  to  say ; 
but  it  may  be  that  these  are  the  earlier  of  the  two  kinds,  and 
w7ere  considered  too  delicate  to  go  unprotected. 

No.  647.  A  bowl  of  fine  creamy-coloured  eggshell  porcelain. 
Diameter,  7  J  inches ;  height,  2  J  inches.  No  mark.  To  look 
at,  this  appears  to  be  a  piece  of  plain  porcelain,  but  when  held 
up  to  the  light  is  found  to  be  engraved  under  the  glaze  with 


374  KANG-HE. 

a  raost  beautifully  executed  lotus  scroll,  along  with  the  eight 
Buddhist  symbols.  Certainly  it  is  a  wonderful  piece  of  art 
that  one  would  not  ascribe  to  an  earlier  period  than  the  end 
of  the  reign  of  Kang-he. 

These  bowls  both  belong  to  the  "  blanc  de  Chine  "  class, 
and  the  former  to  what  is  known  as  the  Corean  section  thereof 
(see  No.  203). 

Kakiyemox. 

In  comparing  the  Chinese  porcelains  and  their  decoration 
with  those  of  Japan,  some  people,  among  whom,  seemingly,  the 
late  Mr.  Monkhouse  must  be  numbered  (see  pp.  42,  119  of  his 
book),  are  of  opinion  that  at  one  time  during  the  middle  of  the 
seventeenth  century  the  Japanese  were  ahead  of  the  Chinese. 
The  Japanese  themselves,  however,  although  justly  proud  of 
their  glazed  pottery,  which  no  doubt  is  superior  to  that  of  China, 
lay  no  claim  to  pre-eminence  at  any  time  in  porcelain.  The  idea 
above  referred  to  probably  arises  from  according  a  too  early 
date  to  the  best  specimens  of  what  is  called  by  the  French 
"premiere  qualite  coloriee  du  Japon"  and  of  which  Mr.  Winthrop 
gives  the  following  description  : — 

"  In  the  seventeenth  century  there  was  imported  into 
Europe  from  the  East  a  porcelain  of  a  remarkably  mat-white 
body  decorated  with  enamel  colours  very  limited  in  number, 
but  sufficiently  brilliant  to  produce  a  fine  effect.  These  were 
never  under  the  glaze,  blue,  where  used,  being  a  thick  opaque 
mass,  and  associated  with  a  fine  iron  red,  yellow,  black,  and 
green.  Specimens  of  this  ware  are  frequently  found  in  the 
shape  of  hexagonal  vases  with  covers  (from  the  form  of  which 
the  well-known  '  old  Worcester  hexagons '  and  others  were 
doubtless  taken)  ;  and  their  panels  seem  to  have  been  very 
commonly  decorated  with  the  primus  blossoms  growing  upon 
stems,  sometimes  with  and  sometimes  without  '  exotic  birds.' 
The  shoulders  of  such  vases  are  generally  treated  with  a  close 
meander  of  conventional  scrolls,  broken  occasionally  by  an 
iron-red  flower,  the  scrolls  being  in  green  enamel. 

" '  Jacquemart '  committed  the  blunder  of  classing  these 
porcelains  as  '  Corean '  (the  Coreans  have  never  manufactured 
porcelain),  and  various  authors  have  copied  his  words.    In  these 


KAKIYEMON.  375 

days  it  is  pretty  well  understood  that  they  were  the  first  porce- 
lains of  Japan  brought  into  Europe,  that  they  were  made  at 
Arita,  in  the  province  of  Hizen,  and  were  the  product  of  a 
manufacturer  named  <  Kakayenion.' 

"  That  these  wares  had  once  a  great  renommee  is  proved  by 
the  fact  that  they  were  imitated  at  every  manufactory  far  and 
wide — at  Dresden,  and  other  German  works ;  at  St.  Cloud, 
where  every  specimen  seems  to  copy  this  early  Japanese  ware ; 
and  at  Chelsea,  Bow,  and  Worcester. 

"  In  the  collection  of  Sir  Augustus  Franks  in  the  British 
Museum,  there  are  several  examples,  and  now  and  then 
specimens  of  it  crop  up  in  sales.  Its  characteristics  are  the 
reverse  of  the  later  Hizen  porcelains,  being  especially  remarkable 
for  a  neat  execution  of  the  decoration,  which  is  thrown  up  by 
the  pure  mat  and  slightly  creamy-tinted  paste.  And  yet  the 
later  Hizen  porcelains  often  reproduce  many  of  the  motives 
of  the  ornament  of  these. 

"  I  especially  admire  this  old  Japan  ware,  but  have  been 
favoured  with  few  opportunities  of  studying  it.  Thirty  years 
ago  I  was  offered  a  perfect  pair  of  such  vases  as  I  have  sketched 
upon  the  last  page  (No.  841),  by  Mr.  Davis,  of  Bond  Street, 
but  I  knew  so  little  of  them  that  I  was  not  inclined  to  purchase. 
A  few  years  later,  the  same  pair  turned  up  in  a  sale  at  which 
I  was  not  present,  and  sold  for  £16  or  £18,  which  I  heard  that 
a  broker  declared  was  '  quite  enough  ' ;  and  not  long  after,  I 
bought  at  a  country  sale  the  vase  which  I  have  here  tried  to 
suggest,  No.  841. 

u  Mr.  Nightingale,  of  Wilton  (a  gentleman  now  dead),  who 
took  great  interest  in  porcelain,  knew  nothing  of  this  old 
Japan,  but  from  Sir  Augustus  Franks  I  received  the  little 
information  that  I  possess,  and  I  am  very  wishful  to  add  to  it. 

"  In  some  drawer  or  cupboard  in  this  house  I  have  a  fluted 
saucer  with  Yandyked  edge,  painted  with  a  scene  where  a 
tiger  struggles  to  release  himself  from  a  trap,  in  an  angle  of 
a  '  banded  hedge '  (see  No.  843)  where  grows  a  palm  tree.  The 
saucer  has  a  '  spur  mark,'  and  is,  doubtless,  a  piece  of  the  same 
old  Japanese,  but  appears  of  a  finer  quality  of  porcelain,  has  some 
touches  of  gilding,  I  think,  and  is  very  brilliant  altogether. 
I  have  also  a  Bow  cup  and  saucer  copied  from  one  of  these 
Japanese   specimens,  called   in   a   memorandum  of  the   Bow 

VOL.   II.  H  2 


0/ 


76  KAKIYEMON. 


works,  'cup  and  saucer,  lady  pattern,'  the  shape  being 
octagon. 

"  Upon  my  vase  there  is  what  was  intended  for  the  '  sacred 
bird '  rather  than  a  peacock  seated  upon  a  tree,  on  each  panel, 
the  tree  in  two  cases  being  the  primus,  in  two  a  pine,  and  in 
two  a  bamboo.  In  each  case,  the  trunk  is  of  a  solid  blue 
enamel,  outlined  with  black,  the  attitude  of  the  bird  in  each 
slightly  changed,  but  always  with  green  neck  and  back,  yellow 
breast,  and  iron-red  tail.  'Du  Sartel,'  in  his  fine  work 
illustrated  with  colour  printing,  depicts  two  vases  very  similar 
to  mine,  one  having  figures  on  its  panels,  and  the  other  with 
prunus  panels,  alternating  with  panels  of  green  meanders  on 
an  iron-red  ground,  the  shoulder  of  the  vase  being  precisely 
like  mine. 

" i  Jacquemart '  depicts  a  round  vase  of  similar  outline, 
the  decoration  carried  all  round ;  and  an  American  author, 
one  Mr.  Prime,  in  an  article  upon  Chinese  porcelain,  gives  a 
plate  representing  a  vase  shaped  precisely  like  my  hexagon, 
decorated  (in  blue  and  white)  with  the  tiger  apparently  getting 
into  a  scrape  with  the  palm  tree,  trap,  and  '  banded  hedge ' 
(No.  843).  By  the  French,  you  may  remember,  this  '  banded 
hedge '  was  early  mistaken  for  a  wheat-sheaf,  and  the  pattern 
or  *  motive '  has  ever  been  called  by  them  the  decoration  '  a 
gerbe. 


? »» 


In  "  Japanese  Pottery '  (at  p.  86),  Sir  Wollaston  Franks 
says :  "  A  native  of  Imary,  in  the  same  province  [  (Hizen), 
named  Higashi-shima  Tokuzayemon,  had  learned  from  a 
Chinaman  who  visited  Nagasaki,  the  method  of  painting  with 
vitreous  colours  upon  the  glaze,  and  with  the  assistance  of 
another  potter  named  Gosu  Gombei,  he  succeeded,  after  various 
experiments,  lasting  over  many  years.  In  the  second  year 
of  Sho-ho  (a.d.  1GI5)  was  commenced  the  exj^ort  of  pieces 
ornamented  with  coloured  enamels,  in  gold  and  silver,  etc. ; 
in  the  first  place  to  a  Chinaman  named  Hachikan.  Business 
was  then  opened  with  the  Dutch  market.  The  kind  of 
decoration  employed  at  this  factory  has  become  its  peculiar 
monopoly,  and  has  been  made  especially  for  the  foreign 
market,  and  is  evidently  what  is  known  in  Europe  as  'old 
Japan.' ' 

Japanese   friends  tell  the  writer  this  account  is  virtually 


co 


o 

CO 


o 


KAKIYEMON.  377 

correct,  but  that  Tokuzayemon  is  not  the  same  person  as  the 
Kakiyemon  or  Kakayemon  referred  to  by  Mr.  Winthrop  ;  that 
later  on  the  two  worked  together,  the  latter  being  the  artist 
whose  work  is  so  celebrated  through  having  been  copied  all 
over  Europe.  The  Japanese  say  that  although  he  never  lost 
his  individuality  of  style,  at  the  same  time  he  no  doubt 
followed  Chinese  models,  and  that  as  the  Chinese  improved  he 
advanced,  his  early  work  being  very  inferior  to  his  latter 
productions.  He  is  generally  supposed  to  have  lived  from 
about  1610  to  about  1690,  and  painted  up  pretty  well  to  the 
last,  some  few  very  fine  specimens  of  his  late  style  are  said  to 
exist,  signed  "  Kaki." 

Many  may  prefer  the  soft-looking  paste  of  the  old  Japan 
to  the  harder  and  more  vitreous  porcelain  of  the  Chinese,  but 
if  during  any  range  of  years,  a  comparison  is  made  either  as 
to  the  enamels  employed  or  the  skill  with  which  they  are 
applied  to  the  porcelain,  it  will  probably  be  found  that  most 
will  decide  in  favour  of  the  Chinese,  as  do  the  Japanese  them- 
selves. 

Kakiyemon,  like  many  other  Chinese  and  Japanese  artists, 
followed  what  is  known  in  Japan  as  the  Kinrante  style,  from 
their  decorations  resembling  that  of  brocades,  and  Kakiyemon's 
flowers  and  birds  all  look  very  much  as  if  they  had  been 
cut  out  of  a  bit  of  silk  brocade.  This  he  probably  got 
originally  from  the  Chinese,  but  when  we  now  come  across  a 
piece  of  Chinese  porcelain  so  decorated  we  at  once  say  it  is 
in  the  Kakiyemon  style. 

"  Yemon  "  seems  to  be  a  very  common  name  in  Japan,  and 
many  potters  appear  to  have  been  known  by  it.  Mr.  Audsley 
("  Keramic  Art  of  Japan,"  p.  115)  was  told  that  one  Tominura 
Kanyemon  had  to  commit  Kara  Karl  for  dealing  with  the 
Dutch  in  contravention  of  the  then  existing  law,  but  this  was 
not  our  friend  Kakiyemon. 

No.  648.  An  octagon  bowl.  Diameter,  8|  inches ;  height, 
4J  inches.  No  mark.  Is  said  to  be  one  of  Kakivemon's 
earliest  pieces.  It  is  painted  in  light- coloured  blues  and 
greens  with  red  flowers. 

No.  649.  An  octagon  plate.  Diameter,  14^  inches  ;  height, 
2  inches.  Mark,  "Kaki"  in  green.  This  is  said  to  be  one  of 
his  latest.     The  back  of  this  beautiful  plate  is  as  carefully 


373  KAKIYEMON. 

decorated  as  the  front,  with  sprays  of  flowers  finely  painted 
in  bright  enamels.  The  border  on  the  rim,  as  seen  in  the 
photograph,  is  a  sort  of  salmon-colour  with  white  arabesque 
work,  relieved  by  slightly  tinted  foliage.  The  four  birds  are 
in  red,  and  the  flowers  in  various  colours.  The  dragon  in  the 
centre  forms  a  circle. 

No.  650  represents  a  Chinese  plate.  Diameter,  13|  inches; 
height,  2  inches.  No  mark,  and  is  decorated  in  what  is  known 
as  the  Kakiyemon  style.  It  probably  belongs  to  about  the 
Yung-ching  period.  The  key  pattern  bands  on  the  rim  are  in 
blue  under  the  glaze,  the  rest  of  the  decoration  being  in  gilt 
and  red.  In  the  centre  the  decoration  is  in  blue  and  green 
enamels  with  aubergine,  red,  and  gilt. 

With  regard  to  Nos.  618  to  650,  Mr.  Winthrop  writes  as 
follows  :  "  The  little  octagon  bowl  appears  a  charming  speci- 
men, in  the  real  Kakayemon  taste,  while  the  whole  decoration 
of  the  octagon  plate  is  Chinese,  unless,  perhaps,  the  four  sprays. 
It  may  be  a  matter  of  opinion  as  to  the  superiority  of  the  later 
work  of  this  artist.  The  design  of  the  little  bowl  is  individual, 
while  that  of  the  octagon  plate  is  literally  copied  from  Chinese 
work,  all  except  the  sprays  of  conventional  flowers  that  recall 
the  designs  of  Kakayemon,  such  as  we  know  them.  The 
photograph  is  most  interesting." 

The  redecoration  on  the  bottles,  Nos.  421, 422,  is  considered 
by  Japanese  to  be  the  work  of  Kakiyemon,  but  if  he  died  before 
1690  it  is  difficult  to  believe  that  this  can  be  the  case,  as  the 
bottles  themselves  would  seem  to  belong  to  the  last  half  of  the 
reign  of  Kang-he.  Unless  the  Japanese  place  his  death  at  too 
early  a  date,  it  is  equally  unlikely  that  he  ever  painted  the 
plate  No.  649,  the  mark  on  which,  unfortunately,  does  not  carry 
conviction,  and  we  are  forced  to  the  conclusion  that  we  must 
look  upon  the  name  Kakiyemon  as  that,  not  so  much  of  an 
individual  as  of  a  school  whose  work  was  contemporaneous  with 
that  carried  on  in  China  during  the  Kang-he  and  Yung-ching 
periods. 


YUMG-CHING.  379 


YUNG-CHING,  1723-1736. 

This  short  period,  wedged  in  between  the  sixty-one  years'  reign 
of  his  father  Kang-he  and  the  sixty  years'  reign  of  his  son 
Keen-lung,  is  a  most  interesting  one  in  the  ceramic  art  of 
China.  It  is  difficult  to  account  for  the  changes  we  shall 
have  to  note,  solely  on  the  grounds  that  the  rose  colour  from 
gold  was  discovered  about  this  time,  and  the  true  explanation 
is,  no  doubt,  to  be  found  in  the  skill  and  energy  of  Hien  Ilsi- 
yao,  who  in  1727  was  entrusted  with  the  management  of  the 
Imperial  works,  and  that  of  his  assistant  Tang-ing.  Chinese 
writers  give  both  these  officials  credit  for  great  practical 
knowledge,  and  say  that  they  commanded  the  services  of  the 
most  able  artists.  Yung-ching  himself  appears  to  have  taken 
the  greatest  interest  in  all  that  went  on  at  King-te-chin,  and 
did  not  fail  to  express  his  gratification  at  every  fresh  discovery, 
while  he  seems  ever  to  have  been  ready  to  bestow  praise  upon, 
and  express  his  admiration  of,  the  fresh  works  of  art  as  they 
arrived  at  the  palace.  In  technique,  the  products  of  this 
period  are,  no  doubt,  superior  to  anything  of  the  past,  the 
drawing  is  more  correct,  and  the  colouring  carefully  blended. 
It  is  true  the  blue  and  white  of  this  reign  is  vastly  inferior 
to  that  of  the  last,  and  it  is  possible  some  may  prefer  the  less 
finished  style  of  the  former  reign,  looking  back  with  regret 
to  the  magnificent  famille  verte  pieces  we  have  left  behind, 
but  all  must  own  that  a  higher  standard  was  aimed  at  during 
this  period  and  the  early  part  of  the  next.  In  some  of  the 
smaller  pieces  the  fineness  of  the  porcelain,  the  beauty  of  the 
colouring,  and  the  skill  of  the  workmanship  is  beyond  all 
dispute.  As  a  rule,  the  decoration  is  never  overdone,  and  in 
the  case  of  plates,  dishes,  etc.,  the  idea  would  seem  to  have 
been  that  the  porcelain  was  so  beautiful  in  itself  that  it  should 
not  be  lost  sight  of.  This,  of  course,  does  not  apply  to  the 
pieces  covered  with  coloured  glazes,  for  in  these  they  excelled 
as  in  everything  else ;  but  even  in  these  it  is  generally 
arranged  that  the  white  porcelain  can  be  seen  somewhere. 
During  this  period  the  porcelain  was  not  looked  upon  as  a 
mere  conveyance  for  the  decoration,  but  as  a  thing  to  be 
admired  in  itself.     Both  are  accorded  their  due  share  in  the 


3S0  YUNG-CHING. 

general  scheme,  and  the  result  is  excellent.  These  Yung- 
ching  wares  have  only  to  be  known  to  be  appreciated ;  if  they 
have  been  somewhat  overlooked  in  the  past,  their  day  is, 
nevertheless,  sure  to  come,  and  ere  long  the  really  fine  famille 
rose  will  probably  be  the  most  valued  of  all  descriptions. 

Black  with  Coloured  Arabesque. 

No.  651.  A  conical  vase,  with  spreading  base  and  narrow 
short  neck.  Height,  12  inches.  No  mark.  Two  lion-heacl 
handles  in  biscuit,  the  mouths  beiDg  looped  up  and  bored 
for  the  insertion  of  rings.  As  seen  at  the  base,  this  piece  is 
made  of  fine  white  porcelain,  and  the  reader  will  notice  the 
raised  rings  which  are  left  white,  forming  three  bands  cutting 
the  surface  into  four  compartments.  The  two  lower  bands 
are  decorated  with  the  key  pattern,  and  the  upper  one,  just 
below  the  neck,  with  one  row  of  curl  work,  all  traced  in  black, 
and  covered  with  a  blue  transparent  glaze  through  which  the 
black  tracing  shows.  The  Avhole  scheme  of  colouring  is  most 
subdued  and  pleasing  to  the  eye,  the  two  lower  compartments, 
being  covered  with  black,  are  relieved  by  the  most  delicate 
arabesque  work  in  very  faint  green,  with  the  flowers  in  white, 
pale  yellow,  and  aubergine.  At  bottom  they  are  probably 
intended  for  paeonies,  above  for  the  lotus,  with  a  green  "mang  " 
on  one  side,  and  an  aubergine  "  mang  "  on  the  other.  In  the 
third  compartment,  on  the  shoulder  of  the  vase,  the  surface  is 
covered  with  black  fish-roe  diaper  work  showing  through  a 
thin  coating  of  greenish-yellow  enamel,  almost  olive  colour, 
on  which  appear  white  and  aubergine  flowers  with  green 
foliage,  the  black  tracing  showing  through  the  thin  enamels 
being  the  chief  idea  in  the  design.  The  neck  is  black,  with 
the  usual  leaf  pattern  in  dull  yellow,  the  veining  here  also 
being  in  black.  The  arrangement  of  the  decoration  could 
not  well  be  better,  there  is  diversity  in  the  pattern  as  in  the 
colouring,  but  all  blend  admirably,  and  this  vase  is  an  excellent 
example  of  the  careful  technique  and  subdued  colouring  for 
which  the  Yung-ching  period  is  so  celebrated. 

This  piece  in  several  ways  resembles  Mr.  Geo.  K.  Davies' 
celebrated  black  vase,  Nos.  640,  641,  and  clearly  belongs  to 
about  the  same  date.  Both  are  decorated  with  arabesque 
work  in  green  on  black,  the  shoulders  of  each  being  covered 


651. 


[To  face  p.  380. 


GO 
CO 


93 


£ 


CO 

HO 

o 


BLUE   AND   WHITE.  3S1 

with  olive  enamel,  while  the  raised  rings  of  white  porcelain 
appear  on  each.     This  may  really  be  a  late  Kang-he  piece. 

Blue  and  White  ivith  Coloured  Enamels. 

We  now  come  to  a  typical  Yung-ching  piece;  the  porcelain 
and  everything  about  it  is  excellent.  Showing  the  most 
careful  manipulation,  in  every  respect  it  is  a  beautiful  example 
of  the  skill  with  which  they  blended  blue  under  the  glaze 
with  other  colours  over  the  glaze.  It  also  exhibits  one  of  the 
leading  characteristics  of  this  period,  in  that  the  decoration  at 
the  back  is  in  every  respect  the  same  as  on  the  front,  as  shown 
in  the  illustration. 

Nos.  652,  653.     Dish.     Diameter,  10J  inches;   height,  2 
inches.      Mark,    "  Yung-ching,"   in  two   blue   rings.      Inside 
there  are  two  blue  circles  at  the  edge,  the  sides  being  left 
perfectly  plain,  then  two  more  blue  circles  which  contain  a 
lovely  scroll-work  in  blue,  the  small  leaves  on  which  are  filled 
in  with  green  enamel  through  which  the  blue  tracing  shows, 
as  in  the  case  of  the  verte  of  this  period.     The  flowers  are 
drawn  and  shaded  in  red,  the  middle  part  being  in  blue  with 
a  yellow  centre  speckled  with  red,  with  seven  green  points 
traced  in  blue.     Outside  (see  No.  652)  this  decoration  covers 
the  whole  of  the  rise,  it  requiring   eight  flowers   to  do   so. 
Inside  the  centre  is  decorated  and  the  margin  left  plain  ;  out- 
side the  process  is  reversed,  the  centre  being  left  plain  and 
the  margin  decorated.      The  date-mark  in  the  middle  is  as 
carefully  written   as   the   rest  of  the   decoration   is   painted. 
Mr.  Hippisley,  at  p.  425,  says,  "  Under  the  earlier  emperors 
of  the  present  dynasty,  though  the  decoration  was  marked 
by  greater  wealth  of  detail  and  by  far  greater  artistic  skill 
than  at  any  previous  time,  it  remained  in  essential  character 
the  same.     On  Chien-lung  porcelain,  however,  it  exhibits  a 
decided  tendency  towards  the  styles  of  Western  decoration, 
showing  in  some  cases  a  close  resemblance  to  the  foliate  orna- 
mentation which  plays  so  important  a  part  in  the  illumination 
of  niediseval  missals,  in  others  to  the  designs  which  are  usually 
considered  Persian  or  arabesque  in  their  origin."     We  may 
take  this  as  being  true  of  the  Yung-ching  period  also,  for  the 
reader  will  have  no  difficulty  in  seeing  in  the  decoration  of 
this  dish  the  resemblance  to  the  painting  on  parchment  as 


5 


82  YUNG-CHING. 


practised  in  Europe,  and,  while  we  have  Mr.  Hippisley's 
remarks  on  the  subject  before  us,  it  will  be  well  to  glance 
back  at  No.  651,  which  is  a  beautiful  example  of  the  arabesque 
style  of  decoration. 

White  with  Peach-hloom  and  Blue. 

Nos.  654,  65o.  With  regard  to  these  very  fine  specimens, 
Mr.  Geo.  K.  Davies,  to  whom  they  belong,  writes  as  follows : 
"Exhibited  Burlington  Fine  Arts  Club,  1896,  as  Nos.  475 
and  476.  A  pair  of  oviform  bottles,  7  inches  high,  of  a  very 
pale  celadon  wash.  The  beautiful  delicate  shape  of  these 
bottles  much  resembles  that  of  the  anaphoras,  which  almost 
entirely  exist  in  the  Peach-bloom  and  Clair  de  Lime  porce- 
lains, and,  as  they  rank  as  the  two  highest  grades  of 
colouring  amongst  the  self  colours,  great  attention  was  paid 
to  elegance  of  design  as  well  as  colouring,  and  the  same 
applies  here.  The  decoration  on  these  bottles  consists  of 
the  eight  trigrams  known  as  the  Pa  Kwa  in  greyish 
blue.  Sir  Augustus  Frank  describes  them  in  this  way : 
'  They  consist  of  combinations  of  broken  and  entire  lines, 
each  differently  placed.  The  entire  lines  represent  the  male, 
strong  or  celestial,  element  in  nature,  and  the  broken  the 
female,  weak  and  terrestrial/  Below  the  Pa  Kwa  are  four 
representations  of  the  mystical  device,  the  Yang  and  the  Yin, 
the  male  and  female  elements  of  nature,  in  two  shades  of  blue. 
Around  the  foot  of  these  vases  are  waves  in  a  darkish  red,  with 
occasional  flecks  of  green  which  look  like  verdigris,  as  in  some 
of  the  Peach-blooms.  They  are  marked  in  blue  on  the  base 
with  the  six  characters  of  the  Yung-ching  period  (1723-1736). 
I  have  never  seen  duplicates,  unless  my  memory  deceives  me, 
in  any  of  the  collections  I  have  visited." 

Black  and  Coral  with  other  Colours. 

No.  656.  "  An  Imperial  ware,  black  ground,  globular 
bottle,  12 J  inches  high,  belonging  to  the  Bennett  collection. 
The  decoration  consists  of  a  five-clawed  dragon  in  pursuit  of 
the  crystal  ball,  with  clouds  round  the  neck  and  body,  and 
round  the  base  rocks  and  waves,  all  of  which  are  embossed 
or  raised  on  the  surface  of  the  vase.  The  colouring  of  the 
dragon  is  in  coral  red,  the  vertebrae  being  marked  by  a  line 


CO 
CO 


CO 


656. 


[To  face  p.  382. 


65' 


[To  face  p.  383. 


658. 


[To  face  p.  383. 


FAMILLE   ROSE.  383 

running  along  it  in  gilt,  and  the  scales,  by  white  edges.  The 
ball  is  in  gilt,  out  of  which  runs  a  flame  in  coral  red.  The 
clouds  are  white,  slightly  etched  with  black.  The  waves  and 
clouds  round  the  base  of  the  vase,  and  running  up  from  the 
base  on  to  the  body,  are  in  various  shades  of  green,  aubergine, 
and  purple  etched  with  black.  It  is  marked  with  the  six 
characters  of  the  Yung-ching  period  (1723-1736)  in  a  double 
circle  of  blue.  This  is  an  exceptionally  rare  specimen  of  that 
epoch,  and  the  effect  of  the  whole  decoration  is  exceeding] v 
bold." 

Famille  Rose. 

No.  657  is  another  of  Mr.  Geo.  11.  Davies'  pieces,  of  which 
he  kindly  sends  the  following  description :  "  Large  globular 
bottle,  20  J  inches  high  by  16  inches  diameter,  covered  with  a 
very  delicate  celadon  wash  or  glaze.  The  subject  is  a  group  of 
six  of  the  Immortals  supported  on  dragons,  fish,  crabs,  etc.,  among 
waves,  one  of  whom  has  just  shot  a  small  figure  of  himself  into 
the  air,  representing  his  own  spirit,  from  a  yellow  vase  held 
in  his  hand.  Further  round  the  body  of  the  bottle  are  the 
other  two  Immortals  supported  in  the  waves  on  the  back  of  a 
dragon,  and  again,  further  on,  rocky  mountain  scenery,  fir 
tree,  and  other  foliage.  On  the  upper  part  of  the  body  is 
Si  Wang  Mu,  a  fabulous  being  of  the  female  sex,  and  her  two 
attendants  floating  amongst  clouds.  On  the  neck  are  two 
male  figures,  evidently  personages  of  rank  or  importance ;  one 
of  them  has  a  child  in  his  arms,  who  is  stretching  out  his 
hand  towards  a  basket  of,  apparently,  peaches  which  are  being 
offered  by  Cheon-lao,  the  god  of  longevity,  and  there  are  two 
other  children  playing  by  their  side.  There  are  also  fir  trees, 
rocks,  clouds,  etc.,  on  the  other  side  of  the  neck.  The  enamels 
on  this  vase,  consisting  of  green,  yellow,  pink,  blue,  etc.,  are 
extremely  brilliant,  and  the  painting  most  carefully  carried 
out  in  all  its  details.  The  waves  are  portrayed  by  a  deeper 
sea-green  celadon  enamel.  It  was  sent  to  me  direct  by  a 
friend,  Mr.  Arbuthnot,  from  China,  and  it  was  pronounced  by 
experts  there  to  be  a  specimen  of  the  highest  class  porcelain 
and  enamelling  of  the  Yung-ching  period  (1723-1736)." 

No.  658  is  a  very  good  example  of  what  are  known  as 
peach  bottles,  and  generally  considered  to  belong  to  this 
VOL.  11.  1 


3?4  YUNG-CHING. 

period.  They  vary  in  size,  most  of  them  are  larger  than  the 
subject  of  the  present  illustration,  which  is  16J  inches  in 
height.  No  mark :  glazed  base.  The  peaches  are  coloured 
so  as  to  represent  the  natural  colouring  of  that  fruit,  with  the 
leaves  in  green,  the  stems  being  painted  a  dull  brown,  not 
aubergine.  On  the  other  side  of  this  bottle  there  are  three 
red  bats.  Mr.  Simons  bought  this  piece  in  the  East  out  of 
a  collection  formed  at  Pekin  by  a  Kussian  gentleman. 

No.  659  is  one  of  the  well-known  rose  verte  dishes  from 
the  Dresden  collection,  as  shown  by  the  mark.  Diameter, 
13  J  inches ;  height,  2\  inches,  brown  edge.  The  decoration 
consists  of  sprays  of  paeony  and  chrysanthemum,  the  flowers 
being  chiefly  in  a  sort  of  purple  pink,  with  the  buds  in  the 
middle  in  yellow.  The  stalks  are  like  the  flowers  and  foliage 
traced  in  sepia,  and  slightly  tinted  in  green  and  other  colours. 
Some  of  the  flowers  are  treated  in  the  ribbed  style  that  we 
find  employed  about  this  time.  To  the  reader's  right  are 
three  rose-buds.  Of  this  dish  it  can  only  be  said  it  belongs 
to  what  is  known  as  the  Yung-ching  period,  it  being  impossible 
to  tell  whether  many  of  these  rose  pieces  were  made  during  this 
reign  or  early  in  the  following,  but  they  are  all  spoken  of  as 
Yung-ching  pieces. 

Blue  and  White. 

In  this  class  the  best  examples  of  this  period  are,  perhaps, 
to  be  found  in  the  so-called  hawthorn  ginger-jars,  where  it  is 
often  difficult  to  decide  whether  a  given  piece  belongs  to  this 
or  the  previous  reign,  but,  in  the  general  run  of  pieces  there 
can  be  no  doubt  the  blue  and  white  of  this  epoch  is  inferior 
to  that  of  Kang-he,  the  like  of  which  we  shall  not  again  meet 
with. 

No.  GGO.  Blue  and  white  dish,  belonging  to  Mr.  Simons. 
Diameter,  7 J-  inches ;  height,  1|  inch.  Mark,  Yung-ching 
(characters  arranged  in  three  columns)  in  two  blue  rings.  The 
decoration  is  marked  off  by  two  blue  circles  at  the  edge,  the 
rim  being  ornamented  with  five  sturgeons.  In  the  centre,  en- 
closed in  two  blue  rings,  is  a  four-claw  dragon  in  the  midst  of 
waves.  At  the  back  are  two  blue  rings,  five  nebulae,  and  two 
more  blue  rings.  Simple  as  this  decoration  is,  it  has  been 
carried  out  with  the  care  for  which  this  period  is  so  noted.    To 


660. 


659. 


[To  face  p.  384. 


CO 
CO 


CO 

co 
so 


CM 

CD 
CD 


CD 
CO 


BLUE   AND    WHITE.  385 

this  reign  belong  what  are  known  as  the  tall,  slender  blue  and 
white  vases,  three  admirable  examples  of  which  Mr.  Geo.  R. 
Davies  has  kindly  supplied,  as  represented  under  Nos.  661,  662, 
663. 

No.  661.  "Tall,  slender,  upright  white  vase,  18  inches. 
About  an  inch  below  the  lip  of  the  vase  is  a  border,  about 
three-eighths  of  an  inch  in  breadth,  of  primus  flowers  between 
double  lines,  both  incised  in  the  paste,  and  round  the  base  of 
the  vase  is  another  incised  band  of  trellis-work  between  double 
lines.  The  decoration  of  the  vase  consists  of  vases  containing 
flowers,  flower-pots  with  plants,  banana  tree,  and  butterflies  in 
various  shades  of  blue,  and  just  below  the  lip  are  small  Vandykes 
also  in  blue." 

No.  662.  "  Tall,  slender  white  vase,  16J  inches,  with  sloping 
shoulder  and  narrow  lip.  Immediately  below  the  lip  is  a  plain 
double  line  incised  in  the  paste,  on  the  top  of  shoulder  and 
surrounding  the  base  are  borders  of  scroll  design  between 
lines  also  incised.  The  decoration  of  the  vase  consists  of 
kylin  or  dog,  Fong  bird,  palm  trees,  verandah  rocks,  and  other 
foliage  ;  round  the  upper  neck  are  sprays  of  paeonies,  butterflies, 
etc.     The  decoration  is  entirely  in  various  shades  of  blue." 

No.  663.  "Tall,  slender,  upright  white  vase,  18  inches; 
below  the  lip  two  narrow  lines  incised,  and  on  shoulder  and 
base  two  bands  between  lines  also  incised.  Round  the  neck 
is  a  band  of  joo-e  heads  in  blue,  below  the  shoulder  a  broad 
irregular-shaped  band  in  blue,  between  this  and  the  broad 
band  on  centre  of  vase  are  emblems  in  blue,  the  broad  band 
and  also  the  lower  band  are  in  blue.  The  decoration  of  this 
vase  is  very  effective,  the  blue  being  painted  on,  leaving  the 
white  to  form  the  design,  the  effect  is  much  like  that  of  lace. 

"  None  of  these  three  vases  are  marked,  but  they  are 
pronounced  by  experts  to  be  most  unquestionably  pieces  of 
the  Yung-ching  period.  The  incised  borders  are  indicative 
of  this  period,  as  also  the  shape,  which  seldom  or  ever  appears 
except  in  the  Ming  and  Yung-ching  eras.  The  blues  in  these 
vases  are  very  bright  and  pretty,  and  they  are  good  examples 
of  their  class.     Yung-ching  period,  1723-1736." 


336  YUNG-CHING. 

Blue  and  White  with  Peach  Bloom. 

No.  664.  A  flat,  full-moon  shaped  bottle.  Height,  18J 
inches.  Mark,  Yung-ching  in  three  columns.  Made  of  fine 
porcelain,  this  is  a  very  good  specimen  of  blue  and  white  of 
this  period  decorated  with  peach  bloom.  The  workmanship 
in  every  respect  is  excellent,  and,  as  is  usual  at  this  time, 
the  mark,  it  will  be  noticed,  is  most  carefully  written.  The 
key  band  at  the  top  and  the  mangs  on  the  handles  are  in 
blue,  the  decoration,  as  seen  in  the  illustration,  consisting  of 
blue  rocks  springing  from  the  waves  at  the  base.  On  the 
chief  rock  grows  a  carefully  painted  peach  tree,  with  peach- 
bloom  flowers  and  fruit,  while  the  lower  rocks  are  covered  with 
clusters  of  peach-bloom  fungus.  On  the  other  side,  painted 
most  carefully  in  blue,  are  rocks,  waves,  and  fungus-shaped 
clouds  with  a  peach-bloom  sun  and  five  bats,  one  of  which  is 
just  visible  on  the  side  of  the  bottle  to  the  reader's  left.  The 
blue  is  good  and  beautifully  shaded,  while  the  peach  bloom 
is  of  a  rich  red  tone  with  the  well-known  russet  spots,  that 
have  already  been  referred  to,  appearing  here  and  there.  The 
reader  will  here  be  able  to  notice  the  difference  in  the  style 
of  decoration  to  that  of  the  last  reign,  the  broad  washes  of  that 
period  have  given  place  to  the  careful  detail  painting  that  we 
shall  find  so  much  of  later  on. 

Powdered  Blue. 

In  the  dish  represented  in  Nos.  665,  666,  we  have  a  typical 
example  of  the  porcelain  of  this  period.  Diameter,  13  inches  ; 
height,  2h  inches.  Mark,  Yung-ching,  in  two  blue  rings. 
The  surface,  back  and  front,  is  covered  with  powdered  blue, 
the  flowers  and  foliage  in  this  case  beiug  left  plain,  and  the 
porcelain,  which  is  of  a  beautiful  white  colour,  shows  up  in 
marked  contrast  to  the  blue  ground.  The  flowers,  leaves,  and 
stems  seem  to  be  very  slightly  recessed,  while  the  veining 
is  somewhat  moulded  so  as  to  stand  up.  In  some  instances, 
the  floral  decoration  is  covered  with  yellow  or  other  coloured 
glaze ;  but  perhaps  the  plain  white  is  upon  the  whole  the  most 
telling  and  pleasing.  The  workmanship  is  all  that  could  be 
desired,  the  back  being  as  carefully  finished  off  in  every 
respect  as  the  front  of  the  dish.     Many  of  these  Yung-ching 


GG±. 


[To  face  p.  386. 


CD 
GO 

co 


<» 
V 


£ 


CO 


CO 

CO 


Si 


£ 


CO 

■o 


CI 

o 


FAMILLE  VERTE.  387 

pieces  have  a  severe  cold  look,  and  one  needs  to  be  educated 
up  to  them  to  appreciate  all  their  beauties ;  but  the  more  they 
are  known  the  better  they  are  liked. 

Celadons. 

It  has  already  been  stated  that  delicacy  of  colouring  is 
one  of  the  great  features  of  this  Yung-ching  period,  and  we 
have  an  example  of  this  in  the  gourd-shaped  bottle,  No.  667. 
Height,  Ui  inches.  Mark,  Ching-hwa  (1465-1488),  the 
characters  being  arranged  in  three  columns  in  a  glazed  recess 
within  a  wide  biscuit-stand ;  but  this  mark  looks  as  if  it  had 
been  added  at  a  later  date.  This  bottle  is  covered  with  a 
brilliant  white  celadon  glaze,  the  decoration  being  in  embossed 
work,  which,  with  the  exception  of  the  flowers,  is  touched  with 
a  lovely  transparent  green  glaze,  marked  here  and  there  with 
blue  so  as  to  give  it  tone.  The  flower,  as  seen  in  the  illustration, 
is  in  a  mauve  shade  of  pink,  with  blue  and  orange  in  the 
centre.  Another  flower  is  in  pale  yellow,  mauve  pink  and 
blue,  others  in  orange,  green  and  blue,  all  of  the  most  delicate 
hue.  The  pink  never  gets  beyond  a  mauve,  or  the  red  beyond 
an  orange  tint,  the  enamels  employed  being  very  subdued. 
The  key  border  in  the  middle  is  lightly  touched  with  green, 
while  the  cartouche-shaped  ornaments  at  the  base  are  relieved 
by  green,  mauve,  and  dots  of  orange.  The  flowers  in  shape 
are  much  the  same  as  on  the  blue  and  white  vase,  No.  774. 

No.  6Q8  is  probably  a  Kang-he  piece,  and  of  a  class  not 
much  known  here,  but  esteemed  by  the  Chinese  and  Japanese 
as  being  somewhat  uncommon.  Height,  5  inches ;  diameter, 
7|  inches.  No  mark.  This  incense-burner  is  entirelv  covered 
with  a  deep,  rich  brown  glaze,  which  when  looked  into  is 
found  to  be  sowm  with  tiny  silver  specks. 

Yung-ching  famille  verte. 

We  saw  in  No.  330  how  the  famille  verte  of  Kang-he  may 
have  almost  imperceptibly  drifted  into  the  rose  verte  of  the 
two  succeeding  reigns ;  but  in  vol.  i.  no  mention  is  made  of 
wiiat  is  known  as  Yung-ching  verte.  It  would  appear  as  if 
on  the  introduction  of  gold-red  the  old  famille  verte  had 
broken  into  two  streams.  The  main  body,  forming  what  we 
know  as  rose  verte,  ran  right  down  through  the  whole  of  the 


388  YUNG-CHING. 

Keen-lung  period ;  while  the  smaller  stream,  which  we  call  Yung- 
ching  verte,  seems  almost  to  have  died  out  before  reaching  the 
Keen-lung  period,  or  very  soon  thereafter,  and  crops  up  only 
now  and  again  in  the  later  reigns  (see  Nos.  884,  885).  This 
Yung-ching  verte  is  chiefly  distinguishable  by  the  thinness 
of  the  pigments  employed.  The  blues,  often  very  delicate, 
are  under  the  glaze.  The  greens  are  of  a  blue  shade,  and 
applied  in  transparent  enamels  frequently  over  the  blues, 
which  further  tends  to  give  the  blue  appearance  that  runs 
through  all  this  class.  The  reds,  from  the  opaque  old  iron 
hue,  drift  into  a  bright  orange  or  salmon  transparent  glaze, 
which  sometimes  just  escapes  being  pink;  while  there  are 
several  new  colours  introduced,  which  it  is  difficult  to  find 
names  for.  Among  others  there  is  transparent  yellow  that 
the  drawing  in  blue  under  the  glaze  shows  through,  with  a 
similar  enamel  in  a  sort  of  aubergine  hue.  These  shades  are 
very  varied  ;  but  the  main  feature  of  the  class  seems  to  be  the 
drawing  of  the  design  in  blue  under  the  glaze,  and  then  the 
further  decoration  in  transparent  enamels  which  the  blue 
shows  through. 

Nos.  669,  670,  671,  672  are  given  as  illustrating  this  class, 
and  as  two  out  of  the  three  specimens  have  Ming  marks,  we 
may  conclude  that  at  the  time  of  manufacture  they  were 
considered  as  imitating  some  ware  that  tradition  stated  had 
existed  during  the  previous  dynasty ;  in  fact,  it  may  be  the 
famille  verte  with  blue  under  the  glaze,  while  the  rose 
verte  is  the  continuation  of  the  famille  verte  with  blue 
enamel. 

No.  669.  Gourd-shaped  bottle.  Height,  16J,  inches.  Mark, 
Kea-tsing,  1522-1567.  Base  glazed  and  slightly  recessed. 
This  is  a  very  good  example  of  Yung-ching  verte,  and  the 
decoration,  as  in  the  case  of  Nos.  342  and  343,  illustrates 
various  games  or  amusements  practised  at  certain  times  of  the 
year.  On  the  top  bulb  we  have  boys  with  wind  toys,  followed 
by  others  with  narrow  flags,  same  as  in  No.  343.  On  the 
bottom  bulb  boys  are  racing  crabs,  while  the  older  people 
seem  to  be  at  some  game  at  a  table.  It  will  be  noticed  this 
piece  has  a  different  Ming  mark  to  No.  672,  but  as  the  colouring 
is  the  same,  perhaps  we  may  conclude  that  in  giving  these 
ancient    date   marks,  the  Chinese  intended  to  indicate  more 


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ROSE   BOWLS.  389 

the  style  of  decoration  that  was  in  vogue  at  that  particular 
period  than  the  pigments  then  employed. 

Thanks  to  Mr.  Winthrop,  Ave  are  able  in  Nos.  670,  671,  to 
give  illustrations  of  this  ware  with  the  Yung-ching  mark. 
"Ginger-pot  of  pure  white  fine  paste.  The  whole  decoration 
has  first  been  delicately  pencilled  in  blue  under  the  glaze  and 
then  treated  over  the  glaze  with  washes  of  transparent  enamel 
of  various  colours,  the  ring  on  the  shoulder  being  emerald 
green,  the  base  lemon  yellow,  the  five  circular  dragon  panels 
of  different  colours;  on  the  shoulder  is  a  band  of  the  eight 
Buddhist  emblems." 

The  dragons  of  the  east,  south,  west,  north  and  middle  have 
to  be  worshipped  by  the  mandarin  officials  on  given  dates  and 
in  times  of  drought,  as  they  are  supposed  to  possess  the  power 
of  causing  rain. 

With  No.  672  we  will  conclude  this  Yung-ching  verte  class. 
It  is  a  small  bowl.  Diameter,  6|  inches ;  height,  2-f  inches. 
Mark,  Ching-hwa,  1465-1488,  in  two  blue  rings.  Outside  the 
decoration  consists  of  the  eight  immortals  ;  in  the  photograph 
we  see  Lan  Tsae-ho  as  a  lady  followed  by  Chang  Ko-laou. 
Inside  there  are  two  blue  rings  at  the  rim,  and  two  more  at  the 
bottom,  the  latter  enclosing  the  only  decoration,  consisting  of 
the  god  of  longevity  with  a  stork  all  traced  in  blue,  over  which 
on  his  robes  appear  the  usual  transparent  yellow  green  and 
aubergine  enamels,  a  red  sceptre  in  his  hand,  and  red  on  the 
stork's  head.  There  are  also  a  few  rocks  in  blue  and  green. 
This  little  bowl  is  a  very  good  example  of  this  class.  The  blue 
(under  the  glaze)  is  excellent,  and  the  polychrome  enamels  very 
bright  and  transparent.  The  reds  here  are  the  old  over  the  glaze 
type  that  we  meet  with  in  the  famille  verte  of  the  last  reign. 

Yung-ching  rose  holds. 

We  must  now  pass  on  to  another  special  class  that  belongs 
to  this  period,  namely,  the  rose  bowls  with  white  primus. 
Nos.  673,  674  are  not  of  the  best  quality,  but  are  very  good 
examples  of  this  particular  ware.  7J  inches  in  diameter,  and 
3  inches  in  height,  they  both  bear  the  Yung-ching  mark, 
arranged  in  three  columns,  which  seems  to  have  been  rather 
the  fashion  at  this  time  (see  lso.  362).  The  porcelain  is  good, 
but  of  a  grey  blue  shade,  on  which  the  opaque  white  enamel 


390  YUNG-CHING. 

shows  up.  The  other  colours  are  all  more  or  less  transparent. 
On  No.  673  we  find,  in  the  middle  of  the  decoration,  a  rock  lined 
out  in  some  dark  colour  and  more  or  less  filled  with  shaded 
blue  enamel ;  but  in  the  illustration  this  looks  more  like  a 
flower  than  a  rock.  On  one  side  there  is  a  spray  of  paeony 
with  rose  flowers,  the  foliage  beins:  in  two  shades  of 
transparent  green  enamel,  one  a  blue,  the  other  a*  yellow 
green.  On  the  other  side  there  is  a  primus  tree,  the 
trunk  being  in  a  transparent  purple  glaze,  the  twigs  and 
centres  of  the  white  flowers  being  in  green  shaded  with  some 
dark  pigment.  There  is  a  rose  fungus  at  foot,  and  a  bird  in  a 
brown  glaze  with  red  legs  perched  on  the  tree,  Avith  another  bird 
flying  at  the  back.  These  bowls  are  never  over-decorated,  and 
No.  67^  is  less  covered.  The  photographs  have  been  arranged 
so  as  to  show  the  marks,  and  the  chief  ornamentation  in  this 
case  is  hid  at  bottom ;  the  reader,  however,  will  see  the  primus 
at  one  side  with  a  spray  of  asters  at  top.  The  inside  of  both 
these  bowls  is  left  perfectly  plain.  Some  of  these  bowls  are 
very  beautiful,  and  all  are  a  distinctive  feature  of  this  reign, 
marked  as  belonging  thereto  and  not  copies  of  anything  in  the 
past,  but  a  fresh  departure  of  which  they  seem  to  have  been 
justly  proud.  The  decoration,  it  will  be  noticed,  is  very  similar 
to  that  on  the  egg-shell  plate  N"o.  363,  and  shows  an  attempt  to 
get  in  enamels  that  freehand  style  of  drawing  admired  by  the 
Chinese. 

Another  class  of  bowls  belonging  to  this  period,  viz.  those 
decorated  with  paeony  sprays,  are  very  beautiful,  the  flowers 
in  many  cases  being  exquisitely  painted  in  lovely  shades  of 
rose.  Of  these  we  have  a  very  good  example  in  Nos.  675,  676. 
Diameter,  7  inches;  height,  3 J  inches.  Mark,  Yung-ching, 
in  two  blue  rings.  In  addition  to  the  paeony  spray,  there  is  a 
yellow  chrysanthemum.  The  foliage  is  sketched  in  sepia, 
which  shows  through  the  green  enamel,  thus  forming  the 
veining  of  the  leaves ;  while  the  paeony  flowers  are  drawn  in 
lines,  the  rose  tints  being  put  on  in  washes  at  the  edges,  the 
effect  being  very  pleasing.  Inside  the  only  decoration  is  a 
small  orchid  twig  at  foot  in  very  pale  green,  such  as  is  to  be 
found  on  many  of  the  better  pieces  belonging  to  about  this 

time. 

No.  677  is  another  specimen  of  these  bowls,  but  of  finer 


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CELADON.  .  39i 

quality.  Diameter,  4 J  inches;  height,  2J*  inches.  Mark, 
Yuner-chinsr,  in  two  bine  rings.  Here  the  flowers  arc  treated 
in  light  and  dark  washes  of  rose  enamel,  the  twig  on  which 
the  bird  sits  being  drawn  in  a  dark  and  covered  with  a  light 
aubergine,  the  bird  being  coloured  in  like  manner,  added  to 
which  is  yellow  on  the  breast  and  blue  on  the  wing  ;  at  back 
there  is  a  most  delicately  painted  butterfly  and  insect  in 
subdued  tints.     The  inside  is  left  entirely  plain. 

Celadon. 

Before  we  leave  these  charming  bowls,  we  must  not  omit 
to  mention  those  made  during  this  period  and  decorated  with 
celadon  glazes  of  all  colours.  We  find  in  this  class  pieces  of 
many  shapes  intended  for  a  variety  of  purposes,  often  small 
in  size,  most  carefully  made  of  the  finest  porcelain,  and  most 
delightfully  coloured.  On  these  celadon  or  coral  grounds  are 
sometimes  placed  figures  or  other  decoration  in  many  coloured 
enamels,  or  the  same  may  be  introduced  in  white  reserves ;  in 
either  case  the  effect  is  always  so  delightful  that  it  is  impossible 
to  know  which  to  admire  most. 

Of  No.  849  Mr.  Winthrop  writes  as  follows  : — 

"Accompanying  there  is  a  9J-inch  bowl,  very  evase,  its 
edges  rolled  over  a  little,  of  a  pale  yellow  lemon  without  any 
ornament.  It  is  doubtless  of  soft  paste  and  of  a  beautiful 
tone  that  does  not  resemble  any  jade  that  I  have  ever  seen, 
but  recalls  jade  by  its  negative  colour  and  an  effect  of  trans- 
parency, owing  to  the  soft  floating  glaze.  Any  one  at  first 
glance  would  take  it  for  a  stone — an  agate,  jade,  or  cornelian. 
It  is  white  under  the  foot,  and  marked  with  the  six  characters 
of '  Yung-ching.' 

"  I  do  not  find  that  the  Chinese  or  Japanese  place  much 
reliance  upon  date-marks,  however,  unless  they  happen  to 
coincide  with  their  independent  opinion." 

No.  678.  Bottle,  with  long  neck.  Height,  19  inches.  No 
mark.  The  base  and  inside  are  left  white,  showing  a  fairly 
good  porcelain.  Although  unmarked,  this  piece  has  a  Yung- 
ching  look  that  seems  to  justify  its  being  included  under  this 
reign.  It  is  coated  with  a  beautiful  blue  glaze,  which 
perhaps  the  term  ultramarine  comes  as  near  describing  as 
any  other,  it  being  too  dark  for  lavender.     The  decoration  in 

VOL.   II.  i  2 


392  .  YUNG-CHlNG. 

relief  consists  of  a  joo-e  in  light-coloured  celadon,  with  vase 
and  flower-spray  in  same,  the  stand  and  dragons  being  in 
brown  ferruginous  paste.  The  peaches  are  also  in  celadon, 
and,  like  the  flowers,  relieved  with  pale  peach  bloom,  the 
whole  colouring  being  very  delicate.  The  citron  on  the  other 
side  of  the  vase  is  covered  with  a  sort  of  orange-brown  glaze. 
The  flowers  are  probably  intended  to  represent  those  of  pome- 
granate, which,  with  the  peach  and  citron,  symbolize  the  three 
abundances — years,  sons,  and  promotion. 


Hose  Verte. 

No.  679.  Dish,  with  everted  edge,  of  rough  porcelain  with 
wavy  surface.  Diameter,  13 1  inches  ;  height,  2  J  inches.  Mark, 
Yung-ching,  in  two  blue  rings.  In  quality  this  is  like  one  of 
the  later  mandarin  pieces,  but  the  decoration  and  colouring 
seem  to  prove  that  it  is  correctly  marked.  Inside  and  outside 
the  ornamentation  is  the  same,  the  one  being  as  carefully 
painted  as  the  other,  which  seems  to  be  a  feature  of  this  reign, 
although  perhaps  not  an  invariable  one.  The  decoration 
consists  of  a  willow  tree,  a  few  small  flowers,  and  the  eight 
famous  steeds  of  the  Emperor  Muh  Wang  (see  p.  191).  The 
drawing  is  rough,  but  the  colouring  is  curious,  and  is  marked 
by  the  characteristics  of  this  period.  The  horses  are  all  of  the 
usual  spotted  type.  That  below  the  tree  is  a  mauve  rose,  the 
one  in  the  middle  iron  red,  that  below  a  light  blue,  while 
the  one  at  the  bottom  is  a  sort  of  orange  red,  such  as  was  in 
vogue  at  this  time.  To  the  reader's  right  the  top  one  is 
yellow,  which  seems  to  have  blistered,  that  below  a  kind  of 
aubergine.  To  the  reader's  left  the  top  one  is  almost  colour- 
less, a  faint  blue  and  sepia;  that  below  a  lighter  shade  of 
mauve  pink.  The  manes  and  tails  are  all  in  a  transparent 
aubergine  glaze,  and,  with  the  exception  of  the  horses  in  iron 
red  and  aubergine,  which  are  sketched  in  the  same  colours,  the 
others  have  been  outlined  in  sepia.  The  small  flowers  are  in 
red  and  blue  with  green  leaves.  Outside  there  are  four  horses 
and  flowers  same  as  on  the  face  of  the  dish,  but  two  of  the 
horses  seem  to  have  been  coloured  from  a  mixed  palette,  which 
is  not  usual  in  Chinese  art,  and  the  tints  thus  obtained  are 
difficult  to  describe.     This  piece  may  be  considered  a  very 


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KEEN-LUNG.  393 

good  example  of  the  rougher  or  "  trade 5:  productions  of  this 
remarkably  interesting  period. 

Nos.  680,  681.  A  rose  verte  dish  of  wavy  porcelain  with 
pierced  sides,  in  the  bamboo  pattern,  but  not  coloured. 
Diameter,  10f  inches;  height,  2  inches.  No  mark.  The 
decoration  is  marked  off  by  black  lines,  the  trellis-work  band 
at  the  rim  being  chiefly  in  a  blue  grey  enamel  with  yellow 
centres.  This  is  broken  by  eight  rose-coloured  flowers.  In 
the  middle,  on  a  ground  coloured  light  green,  a  boatman  has 
shouldered  his  oar  and  fishing-rod,  and  follows  a  lady  who 
walks  in  front  holding  up  a  flower.  The  figures  are  drawn  in 
red  lines,  the  boatman  haviug  a  blue  tunic  and  green  pants 
with  straw  hat.  The  lady's  bodice  is  in  the  same  green 
enamel,  but  the  skirt  in  a  bluer  shade  of  this  colour.  The 
boat,  made  fast  to  the  bank,  is  in  brown,  like  the  oar.  The 
green  boughs  of  a  willow  tree  haug  from  above,  with  pink 
peach  blossoms  showing  below,  and  foliage  in  the  same  colour 
at  the  root  of  the  willow.  The  sun  is  in  red.  The  back  of  this 
dish,  as  is  so  often  the  case  about  this  time,  is  carefully 
decorated.  There  is  a  joo-e  head  band  at  the  edge  in  green 
with  red  outline,  while  above  the  stand  rise  four  rocks  in  blue 
enamel,  against  which  green  waves  traced  in  black  throw  up 
their  foam  in  white  enamel.  The  idea  seems  so  good  that  the 
back  of  the  dish  has  been  photographed,  as  seen  in  No.  681. 

"  During  the  Sung  dynasty  there  lived  a  very  brave  man 
named  Siao,  who  had  a  daughter  named  Cassia-blossom.  Both 
father  and  daughter  were  well  taught  in  the  use  of  weapons, 
but  earned  a  livelihood  by  fishing.  A  certain  tax  collector, 
named  Ting,  one  day  called  upon  them  to  collect  the  fish  tax, 
and  treated  them  very  roughly,  but  his  whole  family  were 
afterwards  put  to  death  by  these  brave  persons.  The  picture 
shows  them  starting  on  their  revengeful  errand." 


KEEN-LUNG,  1736-1795. 

To  begin  with,  no  change  was  made  in  the  management  at 
King-te-chin,  so  that  unless  there  are  marks  to  guide  us  it  is 
almost  impossible  to  tell  the  wares  of  this  period  from  that  of 
the  last,  and  they  all  pose  as  Yung-ching  pieces. 


394  KEEN-LUNG. 

This  monarch  seems  to  have  inherited  much  of  the  strength 
of  mind  and  body  possessed  by  his  grandfather,  Kang-he.  He 
never  seems  to  have  taken  the  field  himself,  but  was  a  warlike 
prince,  and  under  his  directions  the  Chinese  generals  added 
large  territories  to  the  empire.  A  sportsman,  he  made  hunt- 
ing expeditions  like  his  grandfather.  Given  to  letters,  "he 
was  both  'poet  and  prose  writer,  but  not  of  the  first  order." 
Some  of  his  odes,  being  iu  honour  of  the  art  productions  of 
King-te-chin,  testify  to  the  interest  he  took  in  the  work 
carried  on  there.  Early  in  this  reign  (1743),  Thang-ing  suc- 
ceeded to  the  direction  of  the  imperial  works,  and  if  the  high 
standard  of  the  Yung-ching  period  was  not  maintained  in  all 
its  integrity  there  was  probably  no  great  falling  off  in  quality 
as  long  as  he  remained  in  charge.  Much  very  fine  china  is  to 
be  met  with  belonging  to  this  period,  to  which  we  are  indebted 
for  the  most  charming  rose  pieces  we  possess.  The  productions 
of  this  reign  show  European  influence  in  the  styles  of  decora- 
tion much  more  markedly  than  at  any  previous  period.  This,  no 
doubt,  is  due  in  part  to  Jesuit  artists  at  Peking,  if  not  at  King- 
te-chin  itself,  and  in  part  to  the  copying  of  designs  sent  from 
Europe.  We  find  in  porcelain,  models  of  French  furniture 
which  had  been  sent  as  presents  to  the  Chinese  Emperors  by 
the  French  monarchs,  or  been  ordered  by  the  Court  through 
the  Jesuits.  Kang-he  had  a  large  collection  of  French  clocks 
and  watches,  Father  Angelo  acting  as  the  Emperor's  watch- 
maker. So,  no  doubt,  Keen-lung  was  well  supplied  with  articles 
of  vertu  made  in  Europe,  which  the  artisans  and  artists  at  King- 
te-chin  were  called  upon  to  copy.  The  most  pleasing  specimens 
of  this  period  are,  however,  those  made  and  decorated  on  the 
old  Chinese  lines,  and  which  betray  no  signs  of  foreign 
influence.  Instead  of  wondering  at  the  decay,  of  which  we 
can  trace  tokens  towards  the  end  of  this  period,  we  have  pro- 
bably reason  to  be  surprised  that  for  over  one  hundred  years 
the  Chinese  should  have  been  able  to  maintain  such  a  high 
standard  in  their  ceramic  productions,  and  the  decadence, 
perhaps,  may  be  traced  as  much  to  European  influence  and 
orders  as  to  anything  else. 


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MINIATURE   VERTE.  395 

Miniature  Verte. 

About  this  time  were  produced  those  beautiful  specimens 
of  Chinese  art  decorated  with  the  most  delicately  painted 
scenes  and  figures,  generally  in  green  enamel  of  the  finest 
quality.  Sometimes  rose  shades  were  introduced  along  with 
the  other  colours  employed,  while  at  others  sepia  entered 
largely  into  the  composition.  As  in  all  classes,  some  are  better 
than  others ;  but  in  the  following  examples  from  the  Davies 
and  Bennett  collections  the  reader  has  pieces  of  unsurpassed 
excellence.     No.  682  to  684  belong  to  the  former. 

No.  682.  "  A  double-handled  white  '  coupe '  on  pedestal 
base.  Height,  4  inches.  The  porcelain  is  soft  paste  '  Waidzu,' 
and  the  surface  orange-skin,  as  in  No.  684.  The  handles, 
representing  the  sacred  fungus,  are  slightly  gilt  on  the  outer 
side,  and  the  foot  has  a  scroll  in  gilt  encircling  it.  The 
subject  is,  perhaps,  composed  of  six  of  the  eight  immortals  with 
boy  attendants,  and  the  figures  have  all  flowing  robes  ;  the 
enamels,  however,  are  rather  stronger  than  in  Nos.  683  and 
684,  but  with  the  same  delicate  work  and  shading." 

No.  683.  "  A  small  flat-sided  double  gourd  vase.  Height,  5  J 
inches.  Here  again  the  white  is  very  pure,  as  in  No.  684,  and 
the  surface  of  the  porcelain  like  orange-skin.  The  sides  of  the 
vase  are  decorated  with  eight  Buddhist  symbols  in  red,  green, 
blue,  pink,  etc.  The  two  faces  have  different  scenes  in  similar 
colouring,  the  one  a  tree  with  foliage  and  figure  of  old  man  in 
flowing  robes  carrying  basket  of  flowers,  and  leaning  on  a  long 
stick ;  the  other  a  figure  of  a  man  attended  by  boy  carrying 
a  gourd  or  vessel,  out  of  which  he  has  just  started  five  bats. 
These  figures  also  have  flowing  robes,  and  are  standing  by  the 
side  of  a  rocky  landscape." 

"  This  represents  Kuang  Ch'eng  Tzu,  one  of  the  genii,  pro- 
ducing five  bats  by  magical  art,  and  is  called  the  five-bat 
picture." 

No.  684.  "A  small  white^ ground  oval  vase  with  slender 
foot  and  ring  handles,  6^  inches  high,  with  slightly  raised  rim 
round  the  lower  portion  of  body ;  the  porcelain  is  very  white 
and  of  the  orange-skin  surface.  The  subject  of  the  painting  is 
apparently  a  gentleman  with  boy  attendant  carrying  a  lute 
standing  at  a  rocky  bed ;  from  this  a  fir  tree  spreads  out  round 


30  KEEN-LUNG, 

the  other  side  of  the  vase,  and  a  short  distance  from  it  there  is 
a  single  crane  flying,  with  a  cloud  slightly  defined  in  red 
covering  the  upper  portion  of  fir  tree,  and  gradually  fading 
away  into  the  distance.  The  figures  are  enamelled  in  pale 
green,  pink,  yellow,  etc.,  the  trunk  of  the  tree  being  repre- 
sented in  sepia  on  a  pale  lavender  ground  with  green  foliage. 
The  work  on  this  vase  is  minutely  carried  out,  and  the  effect 
produced  is  delicate  and  graceful."    The  Zenana  ladies  write  : — 

"  Formerly  there  were  two  great  friends  named  respectively 
Yii  Pai-ya  and  Chung  Tzu  Ch'e,  who  were  accomplished 
musicians.  Taking  his  lute,  carried  by  a  lad,  Yii  Pai-ya  went 
to  find  his  friend,  who  had  failed  to  meet  him,  but  discovered 
that  he  was  dead  ;  so  Yii,  at  the  grave  of  his  friend,  played  a  few 
stanzas,  then  broke  his  instrument  in  pieces  and  never  played 
it  again." 

This  is  a  very  old  story,  and  seems  to  date  from  before  the 
time  of  Confucius.  It  is  given  at  length  in  the  'String  of 
Chinese  Peach- stones,'  p.  135.  Yii  Peh-ya  was  sent  by  the 
King  of  Tsin  on  an  embassy  to  the  King  of  Ch'u.  On  his 
way  back  down  the  Yangtse,  getting  carried  into  some  by- 
channel,  the  boats  were  made  fast  to  the  nearest  bank.  Here 
by  chance  Peh-ya  fell  in  with  Tsz-ki,  and  they  spent  such  a 
pleasant  evening  together  that  Peh-ya  pressed  Tsz-ki  to  leave 
the  country  and  seek  official  position  ;  but  this  Tsz-ki  refused 
to  do,  on  account  of  his  two  aged  parents.  It  was  therefore 
arranged  that  Peh-ya  should  return  on  a  certain  day  the  follow- 
ing year,  when  Tsz-ki  was  to  await  his  arrival  on  the  bank. 
The  year  passed ;  on  the  day  named  Peh-ya  arrived,  but  was 
not  met  by  Tsz-ki,  so  landed  with  a  boy  carrying  his  lute,  and 
on  inquiry  found  his  friend  was  dead,  aud  on  repairing  to 
the  grave  Peh-ya  sung  the  following  lament : —    • 

"  '  I  recall  the  fond  hopes  of  last  year, 

"When  my  friend  on  the  bank  I  met  here ; 

I  have  come  back  to  see  him  again, 

I  have  come  back  to  seek  him  in  vain. 

But  a  heap  of  cold  earth  do  I  find, 

And  sore  is  my  sorrow-filled  mind ; 

My  sore  heart  is  stricken  with  grief, 

My  tears  are  my  only  relief. 

I  came  here  in  joy ;  with  what  grief  do  I  go ! 

The  banks  of  the  river  are  clouded  with  woe. 


685. 


686. 


687.     [To  face  p.  397. 


MINIATURE  VERTE.  397 

Tsz-ki !  my  lost  Tsz-ki ! 
True  as  tried  gold  were  we. 

Beyond  the  heavenly  shore, 

Thy  voice  I  hear  no  more. 
I  sing  thee  my  last  song,  my  last, 
The  harpsichord's  music  is  past.' 


"  Then  taking  a  small  knife  from  liis  girdle,  lie  cut  the 
silken  strings  in  twain,  and  lifting  the  instrument  with  both 
hands,  as  if  in  sacrifice,  he  put  forth  all  his  strength,  and 
dashed  it  to  pieces  on  the  grave." 

"  Unfortunately,  none  of  these  three  pieces  are  marked,  but 
they  are  certainly  not  later  than  the  Keen-lung  era,  1736-1795, 
during  which  period  this  elaborate  and  refined  style  of  decora- 
tion was  brought  to  great  perfection.  One  or  two  experts  who 
have  seen  these  pieces  are  inclined  to  attribute  them  to  the 
Yung-ching  era,  1723-1736.  No.  682  may  possibly  be  so,  but 
I  incline  to  Keen-lung,  and  believe  them  to  be  of  that  epoch." 

We  now  come  to  three  charming  pieces  from  the  Bennett 
collection  : — 

No.  685.  "  Fine  small  ovoid  imperial  white  ground  vase, 
with  high  shoulder  and  short  neck,  rising  to  slightly  bulged 
rim.     Height,  5J  inches. 

"  The  painting  is  most  delicately  carried  out  in  famille  rose, 
and  represents  a  scene  of  a  palace  and  other  buildings,  with 
a  bridge  and  terraces  leading  to  it.  In  the  distance  are 
mountains  with  clouds  floating  across  them,  and  rocky  scenery, 
with  trees  and  lakes.  The  colourings  of  the  trees  show  some 
in  flower  and  others  with  the  natural  tints  of  their  leaves. 

"  This  vase  bears  on  the  base  the  square  seal-mark  of  the 
Keen-lung  era.  On  the  shoulder  it  is  sealed  with  a  small 
private  chop,  only  used  by  the  Emperor  Keen-lung.  It  also 
bears  an  inscription,  which  reads  as  follows  :  '  My  leisure  hours 
allow  me  to  make  this  picture,  which  represents  the  palace 
among  the  cool  mountains.'  " 

No.  686.  "A  gracefully  shaped  imperial  white  ground 
ovoid  vase,  with  sloping  shoulder  and  neck,  rising  to  slightly 
bulged  lip.     Height,  9  inches. 

"  The  decoration  of  this  vase,  which  is  in  pale  famille  verte, 
consists  of  lake  scenery,  mountains,  trees,  and  shrubs,  amongst 
which  several  pavilions  are  dotted  about.     Towards  the  base 


39S  KEEN-LUNG. 

is  more  rocky  scenery,  with  trees,  shrubs,  and  flowers,  and  a 
larger  j>avilion.  On  a  rock,  which  is  raised  above  the  water, 
are  two  seated  figures. 

"  The  colourings  of  the  vegetation  and  flowers  are  most 
beautifully  executed.  The  painting  and  decoration  of  this 
vase  are  most  minutely  and  artistically  carried  out,  and  it  is 
undoubtedly  a  specimen  of  the  highest  excellence  of  the  period 
to  which  it  belongs.  On  the  base  it  bears  the  square  seal  mark 
of  the  Keen-lung  era,  and  on  the  shoulder  it  is  sealed  with  the 
private  chop  only  used  by  the  Emperor.  There  is  also  an 
inscription,  the  translation  of  which  is  :  *  The  water  which  flows 
from  the  hills  when  it  reaches  the  plain  spreads  out  into  a 
lake.  From  the  high  tower  I  feel  delighted  with  the  ever- 
green scenery  of  the  mountains.'  " 

No.  687.  "  A  small  white  ground,  high-shouldered,  imperial 
vase,  with  short  neck  and  bulged  rim.     Height,  6\  inches. 

"  The  decoration  of  this  vase  represents  lake  and  mountain 
scenery  during  winter,  the  hills  all  being  covered  with  snow. 
A  bridge  stretches  across  one  portion  of  the  lake,  and  there  are 
several  pavilions  dotted  about  amongst  the  hills.  The  vege- 
tation is  most  gracefully  painted,  showing  the  trees  in  their 
autumn  tints.  The  vase  is  delicately  shaded  with  a  pale  wash 
of  sepia,  from  which  the  snow-clad  hills  stand  out  in  great 
prominence,  and  the  shading  of  the  rocks  is  also  done  in  sepia. 
On  the  lake  a  sanpan,  with  standing  figure  sculling,  is  floating 
across  towards  one  of  the  pavilions  on  the  shore.  The 
decoration  is  in  delicate  famille  verte. 

"  This  vase  has  no  mark  on  the  base,  which  is  covered  with 
a  pale  green  glaze.  On  the  shoulder  it  has  the  chop  of  Ching 
San,  imperial  artist  to  the  Emperor  Keen-lung,  also  an  in- 
scription, which  reads :  '  The  season  of  snow  makes  one  feel  a 
threefold  joy.'  This  is  another  exquisite  example  of  the  Keen- 
lung  period  (1736-1795)." 

Fine  Rose. 

Following  on  the  specimens  we  have  just  left  come  another 
set  of  pieces,  bolder  in  execution  and  colouring,  but  equally 
fine  in  other  respects,  which  we  cannot  perhaps  distinguish  by 
a  better  name  than  the  above ;  and  here,  again,  we  are  indebted 


688. 


[To  face  p.  399. 


689. 


[To  face  p.  399. 


FINE   ROSE.  399 

to  the  Davies  and  Bennett  collections  for  the  first  two 
examples : — 

No.  688.  "  A  white  two-handled  globular  bottle,  with 
bulbous  lip.  Height,  9  inches.  Surrounding  the  lip  is  a  key 
pattern  border  in  red  ;  below  this,  dotted  about,  are  butterflies 
and  single  flowers  in  various  colours.  Then  come  four  bands, 
each  different,  the  first  narrow  with  a  slight  scroll  decoration 
in  blue  and  red  ;  the  second,  flowers  in  red  ;  the  third  a  broader 
band  composed  of  flowers  of  many  colours,  almost  representing 
the  1000  flower  design ;  the  fourth,  joo-o  heads  in  celadon, 
surrounded  by  a  blue  line  with  small  blob  of  red  in  centre. 
The  body  of  the  vase  is  covered  with  sprays  of  various  flowers 
and  butterflies  in  pink,  yellow,  and  many  other  colourings. 
Round  the  base  are  lotus  leaves  edged  with  pink,  which 
gradually  fade  away  into  yellow.  The  handles  are  covered 
on  the  outside  with  a  fancy  design  in  red,  green,  and  other 
colourings.  At  the  base  is  the  square  seal  mark  of  the  Keen- 
lung  era  (1736-1795).  The  enamels  on  this  vase,  which  are 
over  the  glaze,  are  very  bright  and  good,  and  the  shading  of 
the  colourings,  both  in  the  butterflies  and  flowers,  show  much 
care  in  the  painting.  It  is  an  uncommonly  good  and  delicate 
specimen,  and  doubtless  belongs  to  the  first  half  of  this 
reign." 

From  the  Bennett  collection  : — 

No.  689.  "  One  of  a  pair  of  imperial  ware  oval  vases. 
Height,  10J  inches. 

"  They  are  decorated  at  the  rim  with  a  band  of  joo-e  heads 
in  various  colours,  and  at  the  base  with  a  fancy  border  sur- 
mounted by  joo-e  heads.  The  whole  of  the  neck  and  body  are 
closely  decorated  in  colours  with  pumpkin  vines,  which  are  in 
flower  and  fruit.  Amidst  the  branches  are  butterflies,  flying. 
The  decoration,  which  shows  a  good  deal  of  famille  rose  through 
it,  consists  of  many-coloured  enamels,  which  are  mingled  with 
blue,  of  which  the  stems  are  chiefly  composed. 

"  The  whole  effect  is  exceedingly  rich  and  striking,  and 
they  are  unlike  anything  the  writer  has  previously  seen. 
They  are  fine  examples  of  the  bolder  type  of  decoration 
sometimes  used  in  the  Keen-lung  period." 

No.  690  is  a  magnificent  piece,  representing  the  rose  period 
when  at  about  its  high-water  mark.     One  of  the  full-bodied 

VOL.  II.  k 


400  KEEN-LUNG. 

cylindrical  vases  of  this  reign  (compare  shape  with  No.  774), 
it  is  27  inches  in  height.  No  mark.  The  diaper  work,  top 
and  bottom,  is  beautifully  painted  in  rose,  green,  and  yellow. 
The  joo-e  heads  on  the  shoulder  are  surmounted  by  a  flower 
band,  above  which  the  ornamentation  takes  the  form  of  what 
are  perhaps  highly  conventionalized  sweet  flags,  the  whole 
bearing  witness  to  the  more  complicated  designs  that  were 
now  called  for  at  the  hands  of  the  ceramic  artist.  The  main 
decoration  consists  of  chrysanthemums,  paeonies,  and  other 
flowers  painted  in  the  most  charming  manner  in  rose  and  other 
delicate  enamels  of  the  finest  quality.  The  stems  are  in  very 
dark  brown,  almost  black.  The  ground  on  which  the  quail 
stands  is  a  very  pale  bluey-green.  There  is  not  a  false  note  in 
the  whole  composition,  and  this  vase  is  a  wonderful  specimen 
of  what  wras  possible  in  China  at  this  period. 

This  beautiful  vase  belongs  to  Mr.  A.  Trapnell. 

No.  691.  Dish  of  very  white  but  opaque-looking  porce- 
lain, probably  a  piece  that  has  been  dipped  in  a  fine  liquid 
paste  before  firing.  Diameter,  8^  inches ;  height,  1J  inch. 
No  mark.  The  colouring  here  is  very  beautiful.  The  trunk 
of  the  primus  tree  is  in  aubergine,  the  blossoms,  outlined  in  red, 
stand  on  green  twigs,  with  light  aubergine  enamel  centres 
touched  with  green.  The  anemones  are  in  shades  of  a  purple 
pink,  the  larger  one  being  lightly  washed  with  a  blue  green  at 
places  between  the  centre  and  the  ends  of  the  petals.  The 
flower  to  the  reader's  right  is  probably  intended  for  a  yellow 
rose.  It  is  outlined  in  red,  the  yellow  enamel  being  of  exquisite 
richness.  The  iris  at  the  other  side  are  also  in  red,  with  yellow 
of  a  darker  shade.    The  foliage  is  in  two  shades  of  a  blue  green. 

No.  692  is  one  of  those  quasi  egg-shell  dishes  that  belong- 
to  about  this  period.  Diameter,  7f  inches.  Height,  lh  inch. 
The  decoration  consists  of  a  paeony  spray,  the  flowers  of  which 
have  been  outlined  in  red  and  shaded  with  a  beautiful  pink 
enamel  by  means  of  the  most  delicate  lines  drawn  from  the 
edges  where  the  colour  is  in  body.  The  foliage  is  traced  in 
black  and  then  covered  with  transparent  green  enamel  through 
which  the  black  shows  as  the  veining  of  the  leaves ;  the  green 
is  of  two  shades,  so  that  some  leaves  have  a  yellowish  hue.  The 
butterfly  is  in  white  enamel,  most  delicately  veined  with  pink, 
while  a  tiny  black  spot  here  and   there  helps  to   throw   the 


090. 


[To  face  p.  400. 


692. 


691. 


[To  face  p.  400. 


o 


o 

CO 


CO 
CO 


FINE    ROSE.  401 

whole  up.  The  flowers  of  the  aster- spray  are  in  straw-colour, 
with  one  in  pink.  The  other  small  flowers  are  in  purple  and 
blue,  with  green  centres. 

No.  G93.  Dish  of  very  fine  white  porcelain,  with  reticulated 
sides.  Diameter,  10  inches.  Height,  2  inches.  No  mark. 
The  reticulated  part  is  covered  with  a  cream-coloured  glaze 
inside  and  outside,  and  painted  in  brown  to  represent  the 
spotted  bamboo  (see  page  187).  At  the  edge  there  is  a  gilt 
band  meeting  the  bamboo-work,  back  and  front ;  while  inside 
at  foot  it  is  finished  off  by  one  of  the  fleur-de-lis  shaped  gilt 
bands  that  we  find  so  often  on  plates  made  for  Europe.  The 
central  decoration  consists  of  three  flowers,  four  butterflies,  and 
a  small  spray  of  litchi,27  showing  this  fruit  in  the  green  and  ripe 
state.  The  flowers  may  look  pretty  much  alike  ;  but  the 
foliage  shows  them  to  be  different,  probably  pseony,  chrysan- 
themum, and  rose.  The  former  is  in  shades  of  mauve  pink, 
the  next  white  and  pink,  and  the  latter  in  various  shades  of 
rose,  the  foliage  being  in  a  blue  green  brightened  with  gilt. 
Delicate  as  the  flowers  are  in  colouring  and  workmanship,  they 
are  eclipsed  by  the  butterflies,  which,  in  the  beauty  of  their  soft 
variegated  colouring,  are  really  admirable  specimens  of  the 
Chinese  artist's  skill  in  a  line  particularly  his  own,  and  in  which 
we  naturally  expect  him  to  excel.  The  enamels  in  which 
the  flowers  are  painted  seem  to  be  ribbed,  and  appear  to  catch 
and  reflect  the  light  better  than  when  put  on  in  washes ;  the 
ribbing  may  have  been  done  after  the  enamel  was  put  on,  but 
before  it  was  quite  dry.  However,  the  fact  is  worth  noting,  as 
it  is  a  style  of  painting  we  found  on  some  of  the  Yung-chin g 
pieces,  and  about  this  period  is  often  met  with.  This  ribbing 
generally  appears  in  a  dark  shade  over  a  light. 

The  fine  white  porcelain  of  which  this  dish  is  made,  the 
careful  finish  inside  and  outside,  combined  with  the  delicacy 
of  the  decoration,  are  all  worthy  of  the  Yung-ching  period, 
and  seem  to  warrant  the  Chinese  habit  of  classing;  these  wares 
under  that  name.  The  porcelain  outside  below  the  bamboo- 
work  down  to  the  stand  is  of  wavy  appearance,  which  is  not 
uncommon  in  pieces  of  this  period.  The  reticulated  work  is 
probably  intended  to  represent  a  row  of  bamboos,  the  joints 
coming  above  and  below  alternately. 

'27  The  Nephelium  Litchi,  written  also  h'<:hi.  and  tychee. — T.  J.  L. 


402  KEEN-LUNG. 

We  have  another  instance  of  the  continuation  of  this  fine 
Yung-ching  style  of  work  in  No.  694.  A  bowl.  Diameter, 
6  J  inches  ;  height,  2|  inches.  Mark,  Shun-tih  tang  chi.  "  Made 
at  the  Cultivation  of  Virtue  Hall."  "  This  mark  is  on  specimens 
of  different  kinds  and  very  varied  quality.  The  name  is  derived 
from  the  classics  :  '  The  Great  Learning,'  chap.  x.  6.  It  is 
said  to  be  the  Hall  name  of  the  Tao-tai,  or  superintendent  of 
the  Imperial  Porcelain  Manufactory  "  (Franks,  p.  213).  The 
motive  is  the  old  one  of  two  ducks  and  lotus  flowers.  All 
most  delicately  painted  in  equally  delicate  transparent  enamels, 
rose,  green,  and  other  colours. 

"The  Mandarin  duck  and  drake,  and  the  lotus.  At  the 
time  of  weddings  this  picture  is  often  drawn  and  hung  up  on 
the  wall,  or  embroidered  on  a  curtain.  The  ducks  are  an 
emblem  of  connubial  bliss  and  felicity,  and  the  lotus  is  very 
prolific,  as  it  is  hoped  the  newly  married  couple  will  also  be." 

Before  leaving  this  charming  class,  thanks  to  Mr.  Bennett's 
kindness,  we  are  able  to  view  three  examples  belonging  to  the 
far-famed,  much-sought-after,  and  difficult-to-obtain 

"  Mille  fleurs  " 

style  of  decoration,  of  which  Mr.  G.  K.  Davies  has  been  good 
enough  to  send  the  following  descriptions  : — 

No.  695.  "  A  thousand-flower,  quatrefoil  globular  vase,  with 
quatrefoil  lip.     It  is  one  of  a  pair. 

"The  whole  surface  is  covered  with  various  flowers  and 
foliage  in  every  imaginable  coloured  enamel.  On  each  of  the 
four  shoulders  there  is  a  white  round  panel  on  which  are 
several  figures  most  beautifully  depicted,  representing  the 
spirits  of  the  flowers.  On  the  base,  which  is  covered  with  a 
pale  sea-green  enamel,  is  the  square  seal  mark  of  the  Emperor 
Keen-lung  (1736-1795)  in  red.  The  decoration  of  this  vase 
is  rather  paler  in  effect  than  on  the  long-necked  bottle,  No.  697, 
as  there  is  a  good  deal  of  a  pale  lemon  yellow  in  the  decoration. 
It  has  evidently  been  painted  on  a  yellow  enamelled  ground, 
and  is  not  so  densely  covered  as  on  the  other  pieces,  portions 
of  yellow  showing  through,  especially  towards  the  base." 

No.  696.  "  A  four-sided  thousand-flower  design  vase,  grad- 
ually widening  towards  the  shoulder,   whence  it  recedes  and 


095. 


[To  face  p.  402. 


G96. 


[To  face  p.  402. 


697. 


[To  face  J)-  403. 


CELADON    REDS.  403 

forms  a  square  neck,  12  inches  high.  It  lias  its  own  square 
cover,  surmounted  by  a  gilt  knob. 

"  The  body  is  covered  over  with  every  variety  of  flower  in 
many  coloured  enamels.  The  tone  of  this  vase — though  not 
quite  like  the  quatrefoil  vase — is  subdued,  and  not  so  forcible 
in  colouring  as  the  long-necked  bottle.  There  are  four  panels, 
slightly  sunken,  in  which  are  most  beautifully  drawn  figures 
representing  the  spirits  of  the  flowers.  The  background  of 
these  panels  is  delicately  tinted  as  if  to  harmonize  with  the 
colouring  of  the  flowers  which  form,  as  it  were,  the  frame  of 
the  picture.  The  base  of  the  vase  is  again  covered  with  a 
pale  sea-green  enamel,  on  which  is  the  square  seal  mark  of 
the  Keen-lung  period  (1736-1795)." 

No.  G97.  "Long-necked  bottle  of  thousand-flower  design, 
12^  inches  in  height.  On  the  base  is  a  pale  sea-green  enamel, 
with  the  square  seal  mark  of  the  Keen-lung  era  (173G-1795) 
in  red. 

"  The  neck  and  body  of  this  bottle  are  covered  with  flowers 
of  every  sort,  description,  and  kind,  also  leaves  and  foliage  in 
varieties  of  colouring.  It  is  difficult,  I  may  say  almost  im- 
possible, to  describe  the  effect  of  these  thousand-flower  pieces 
unless  seen,  but  the  appearance  is  most  beautiful.  They  are 
looked  upon  with  great  esteem,  both  in  China  and  also  among 
the  American  collectors,  and  are  excessively  rare;  and  there 
are  comparatively  very  few  known  specimens  of  any  size  or 
importance.  One  of  the  peculiarities  of  this  vase  is  that  it 
has  no  panels,  but  the  whole  surface  is  entirely  covered. 

"  There  is  a  good  deal  of  pale  lilac  amongst  the  decoration, 
and  the  reds  stand  out  on  this,  and  the  delicate  greens,  yellows, 
and  blues,  with  great  clearness  ;  and  yet  with  all  these  com- 
binations of  colours  the  effect  is  most  harmonious.  This  bottle 
has  rather  more  force  of  colouring  than  the  other  pieces." 

We  must  not  lose  sight  of  the  fact  that  along  with  these 
pieces  so  beautifully  decorated  over  the  glaze,  many  other 
descriptions  were  being  produced  at  the  beginning  of  this 
reign,  and  may,  before  going  on  further,  as  well  glance  at  the 

Celadon  Beds. 

In  Nos.  698,  G99  we  have  examples  of  two  of  those  reds 
that   are   believed  to  have  come  in  towards  the  end  of  the 


404  KEEN-LUNG. 

Kang-he  period,  the  particular  shade  of  which  it  is  so  difficult 
to  describe,  as  it  may  be  anything  between  sang  de  boeuf  and 
peach-bloom,  colours  in  themselves  uncertain  and  varied. 
These  dishes  appear  to  have  been  part  of  the  late  loot,  as  they 
had  yellow  palace  tickets  upon  them  when  they  arrived  in 
this  country,  which,  however,  have  unfortunately  been  washed 
off. 

No.  G98.  Dish  on  cylindrical  stand.  Diameter,  6  inches ; 
height,  4  inches.  No  mark.  Made  of  fine  porcelain ;  the 
stand  is  hollow,  showing  at  top  the  bottom  of  the  cup.  With 
the  exception  of  two  blue  lines  at  rim,  the  inside  is  left 
perfectly  plain ;  outside  the  decoration  is  in  blue  and  white, 
with  four  red  five-claw,  roughly  drawn,  dragons  round  the 
sides,  and  one  on  the  stand,  all  disporting  themselves  midst 
blue  waves.  At  its  best  the  red  is  of  a  rich  yellow  shade, 
but  at  places  wanes  into  a  pale  peach  shade.  This  cup  has  a 
Yung-ching  look  ;  but  there  is  nothing  to  guide  us  for  certain, 
so  it  may  be  classed  as  a  borderland  piece  that  might  belong 
to  the  Keen-lung  period.  These  bowls  are  used  by  the  upper 
classes  in  China  much  in  the  same  way  as  we  employ  finger- 
glasses.  They  are  filled  with  water  and  placed  on  a  wooden 
stand,  with  a  pivot  to  fit  into  the  stalk  of  the  bowl,  so  that  it 
cannot  be  upset,  and  from  time  to  time  the  comjDany  at  table 
rinse  their  wine-cups  in  the  water. 

No.  699.  Cup,  or  dish,  similar  to  the  last,  but  covered  inside 
and  outside  with  a  rich  red  glaze,  with  dark  spots,  as  in  sang 
de  boeuf.  There  is,  however,  as  seems  usual  in  the  Yung-Ching 
and  early  Keen-lung  pieces,  an  absence  of  the  yellow  shade 
common  in  the  hue  known  by  that  name.  The  edges  of  the 
cup  and  the  inside  of  the  stand  are  left  white.  As  Yung-ching 
only  reigned  thirteen  years,  where  not  actually  marked,  it  is 
often  difficult  to  decide  whether  pieces  such  as  this  belong  to 
the  end  of  the  Kang-he  period,  the  Yung-ching,  or  are  early 
Keen-lung.  This  piece  has  a  look  of  the  latter,  but  does  not 
seem  to  show  that  sort  of  blue  u  feeling  "  that  can  generally 
be  noticed  on  the  reds  of  the  Keen-lung  period  when  held  so 
that  the  light  falls  at  an  angle. 


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ROSE   VERTE.  405 

Soft  Paste. 

This  class  is  dealt  with  fully  later  on,  at  p.  444,  but  as  the 
pieces  composing  it  were  produced  during  the  whole  of  this 
reign,  we  will  here  take  an  early  example  thereof. 

No.  700.  Blue  and  white,  soft  glaze  crackle,  oviform,  almost 
lantern-shaped,  vase.  Height,  13  inches.  No  mark.  On  each 
side  of  the  neck  are  sprays  of  narcissus  and  fungus,  and  on 
the  body,  slightly  raised  lion-head  (?)  handles  with  fixed  rings, 
covered  with  glaze.  The  animal  seen  in  the  illustration  appears 
on  the  other  side  smaller  in  size,  and  seated  under  a  willow- 
tree.  If  this  is  not  actually  a  Yung-ching  piece,  it  is  not  far 
off  that  period;  in  the  handles  and  other  respects  it  has  a 
great  look  of  the  workmanship  then  in  vogue.  Bold  in  design 
and  deep  in  colouring,  the  blue  being  of  the  real  sapphire  type, 
the  colour  is  not  applied  in  broad  washes,  but  by  lines  and 
stippling,  as  in  an  engraving. 

"  This  is  a  lion,  drawn  at  the  artist's  fancy." 

Rose  Verte. 

We  will  now  take  up  this  charming  section,  for  it  un- 
doubtedly was  at  its  best  during  the  first  half  of  this  reign. 

Nos.  701,  702  represent  two  rose  verte  ginger-jars. 
Height,  6J  inches.  No  mark.  The  one  is  decorated  with 
peaches,  such  as  we  find  on  the  Yung-ching  bottles  ornamented 
with  this  fruit  (see  No.  668)  ;  the  other  with  chrysanthemums 
similar  to  those  we  meet  on  some  of  the  very  fine  early 
Keen-lung  porcelains.  These  jars,  like  many  of  the  hawthorns, 
appear  to  have  been  made  of  a  coarse  paste  that  has  been 
coated  with  a  fine  porcelain,  although  seemingly  not  of  the 
"  soft  paste  "  composition. 

Nos.  703,  704  illustrate  a  very  interesting  pilgrim  bottle. 
Height,  10:[  inches.  No  mark.  As  shown  in  No.  703,  the 
decoration  is  in  late  famille  verte,  the  drawing  being  much 
better  than  anything  we  find  until  quite  the  end  of  the 
Kang-he  period,  while,  like  some  other  of  these  carefully 
painted  pieces,  it  has  the  artist's  mark ;  but  this  seems  to 
differ  from  those  on  Nos.  593  and  024,  and,  unfortunately, 
few  appear  to  be  decipherable.  On  the  other  side,  as  seen 
in  No.  704,  we  have  a  lady  being  floated  along  on  a  raft ;  but 


406  KEEN-LUNG. 

here  the  painting  is  in  rose  verte,  the  skirt  of  the  lady  and 
the  jacket  of  the  attendant  being  in  one  of  those  purple  rose 
shades  obtained  from  gold,  while  the  rest  of  the  enamels  and 
the  painting  is  similar  to  what  we  find  in  eggshell  of  the  best 
quality.  In  this  case  the  large  amount  of*  plain  surface  and 
general  scheme  of  the  decoration  shows  that  the  Yung-ching 
influence  was  still  in  force.  If  it  errs  at  all,  it  is  on  the  side 
of  severity;  there  is  ease,  but  none  of  that  abandon  that 
people  sometimes  complain  of  in  pieces  dating  from  later  on 
in  this  reign.  When  the  pieces  belonging  to  this  period  are 
not  marked,  it  is  exceedingly  difficult  to  say  whether  they  are 
actually  Yung-ching  or  not ;  so  they  are  classed  together,  and 
generally  known  by  that  name. 

No.  703.  "  This  represents  the  Emperor  Woo  Ti  of  the  Han 
dynasty  shooting  dragons  in  the  Isu  Yang  stream.  These 
dragons  are  said  to  have  possessed  power  to  raise  great  waves 
and  injure  men  and  boats." 

"  Chinese  Biographical  Dictionary,"  p.  491 :  "  Liu  Ch'e,  B.C. 
156-187.  Son  of  Liu  Ch'i,  whom  he  succeeded  in  140.  He 
began  his  reign  as  an  enthusiastic  patron  of  literature.  In 
136  copper  coins  were  cast,  the  forerunners  of  the  present 
cash.  In  the  same  year  the  decree  of  Scholar  of  the  Five 
Classics  was  instituted.  ...  In  121  Tsii-ma  Ch'ien  reformed 
the  calendar,  and  from  this  date  accurate  chronology  may 
be  almost  said  to  begin.  Great  attention  was  paid  to  the 
improvement  of  music,  and  the  important  religious  sacrifices 
to  heaven  and  earth  were  established.  Notwithstanding  his 
enlightened  policy,  the  Emperor  was  personally  an  ardent 
student  of  Taoist  mysteries,  and  patronized  the  numerous 
quacks  who  pretended  to  have  discovered  the  transmutation 
of  metals  and  the  elixir  of  life.  His  later  vears  were  em- 
bittered  by  the  loss  of  his  eldest  son,  whom  he  had  wrongfully 
put  to  death  at  the  instigation  of  his  favourite  concubine,  the 
Lady  KouI"(Chao). 

No.  704.  "This  is  called  the  lotus-picker's  boat,  and  is  a 
fancy  picture  often  copied." 

No.  705.  Plate,  with  gilt  edge.  Diameter,  19|  inches; 
height,  2|  inches.  No  mark.  This  is  a  very  good  example 
of  rose  verte  before  it  lost  the  distinctive  features  of  the  old 
Kang-he  verte,  as  seen  in  the  green  and  aubergine  pavement 


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705. 


[To  face  p.  i06. 


706. 


707. 


[To  face  p.  407. 


ROSE   VERTE.  407 

and   general   treatment   of  the   figures.      While   the   motive 
being  the  same  as  used  in  decorating  No.  577,  it  is  interesting 
to  compare  the  two  pieces  and   note   the  advance   that  had 
taken   place  in   the  thirty  or  forty  years   that  probably  lie 
between  the  two  as  far  as  the  central  decoration  goes ;   but 
No.  577  is  a  dish,  and  this  a  plate,  which  makes  a  considerable 
difference  when  a  comparison  has  to  be  made.      One  thing 
peculiar  about  this  time  is  that  the  diaper  band  on  the  plates 
often  only  covers  half  the  rim,  while  the  central  ornamenta- 
tion is  extended  over  the  side  and  up  to  the  diaper  work,  thus 
giving  a  greater  field  and  imparting  an  appearance  of  size  that 
would  otherwise   be  wanting.     The  diaper  is  the  old  honey- 
comb pattern,  the  same  all  round,  in  green  with  green  centres 
and  red  spider-work.     On  this  are  thrown  lotus  flowers,  in  red 
with  gilt  and  jDink  with  yellow,  while  the  reserves  are  marked 
off  by  green  and  blue  bands  and  filled  with  red  fish,  a  crab 
and  crayfish.     The  roof  of  the  pavilion  is  in  green  and  auber- 
gine,  above   which   comes   a    peach   tree    loaded   with   pink 
blossom.    The  male  figure,  with  a  gilt  fan,  is  dressed  in  a  pink 
robe  of  thick  enamel,  the  other  in  yellow  enamel  with  gilt 
facings,  while  the  taller  lady  is  in  green  and  blue  with  pink 
skirt,  the   other  in   yellow  with   green  and   a  skirt  of  deep 
purple-blue  enamel.      The  colours  for  the   most  part  are  in 
thick  enamels,  as  in  the  old  famille  verte.     At  the  back  there 
is  no  decoration  except  two  pink  paeonies  and  two  red  lotus 
flowers.     Two  attendants  are  seen  looking  through  the  circular 
opening,  enjoying  the  trouble  the  priest  has  got  himself  into. 

No.  706.  Kose  verte  dish ;  everted  edge.  Diameter,  lOf 
inches;  height,  If  inch.  No  mark.  The  sky,  the  woman's 
buckets,  and  the  tassel  on  the  horse,  are  in  iron  red ;  but  for 
the  rest,  the  colours  are  those  usually  met  with  in  the  rose 
verte  class,  viz.,  two  shades  of  green,  pink,  yellow,  purple,  and 
blue,  all  in  thick  enamel.  The  motive  is  probably  San-neang 
and  her  son.  This  tale  will  be  found  in  the  "  Chinese  Keposi- 
tory,"  vol.  i.  p.  493,  under  the  heading,  "  Chinese  fragment :  a 
ballad.  Scene,  Honan ;  period,  a.d.  250,  during  the  civil 
wars."  And  the  following  is  taken  therefrom :  "  Exceed- 
ingly cold  and  distressed,  San-neang  approached  the  village 
well,  weeping  as  she  went  to  draw  water  from  the  crystal 
spring.  .  .  .  She  exclaimed,  '  To-day  my  life  is  a  burden  to 
vol.  ir.  k  2 


408  KEEN-LUNG, 

me,  because  of  my  distress.  I  shall  perish  with  cold  in  the 
midst  of  the  snow.  0  heaven!  tell  me  who  will  pity  me? 
My  husband  has  gone  far  from  me,  in  search  of  the  honours 
of  war.  He  promised  soon  to  return ;  but  my  eyes  are  con- 
sumed by  looking  with  anxious  expectation.  My  infant  son, 
too — he  is  far  away.  Nor  sound  nor  letter  have  I  heard  or 
received  from  either.  .  .  .  Tell  me  how  to  recover  my  hus- 
band !  how  to  effect  the  return  of  my  son.'  As  she  was 
making  this  lamentation,  a  young  officer  and  his  attendants 
passed  by  on  a  shooting  excursion  '  ordained  by  imperial 
heaven.'  Seeing  her  grief,  he  asked  the  reason  thereof.  She 
replied,  'I  am  suffering  the  bitterest  ill-usage.  My  father's 
native  place  was  Sha-taou.  During  the  lifetime  of  my  parents, 
they  formed  for  me  a  happy  connection.  I  was  married  to  an 
excellent  man,  Lew-che-yuen.  Our  home,  however,  at  the 
melon  gardens  was  broken  up.  He  grasped  his  sword,  joined 
the  army,  and  devoted  himself  to  war.  I  know  not  if  the 
valiant  hero  has  yet  obtained  a  dukedom.  Here  I  am,  wearied 
with  waiting,  and  my  eldest  brother's  wife  ill-uses  me,  with  a 
design  of  forcing  me  to  marry  again.  She  bids  me  put  off  the 
shoes  from  my  little  feet,  clothe  myself  in  coarse  garments, 
and  come  hither  to  draw  water  from  morning  to  night.  And 
when  night  comes  I  am  required,  sleepless,  to  grind  corn  with 
the  handmill.  Thrice  every  day  I  get  a  scolding  and  a 
beating.  It  seems  to  be  thought  that  my  heart  is  as  hard 
as  iron  or  stone.  I  was  compelled  ;to  trust  my  infant  son — 
but  three  days  from  his  birth — to  Tow-yuen,  who  took  him  to 
Funchow,  in  search  of  his  father,  hoping  that  he  would  soon 
provide  a  whip  to  drive  home  his  horse.  But  sixteen  years 
have  elapsed,  and  I  have  not  heard  the  least  report  of  either 
husband  or  son.  .  .  .  Alas !  hundreds  of  hills,  and  wilds,  and 
clouds,  and  fogs  lie  between  us ;  and  in  my  distress,  although 
I  should  write  a  letter,  I  have  none  to  carry  it.'  The  youn«- 
officer  heard  this  recital  with  astonishment,  and,  telling  his 
attendants  to  produce  writing  materials,  said,  'If  you  will 
write  to  your  husband  I  will  take  the  letter  to  Funchow,  and 
in  thrice  ten  days  at  the  longest,  or  perhaps  in  half  a  month, 
I  warrant  you,  you  will  hear  of  their  return.'  San-neang  took 
up  the  pencil  and  wrote,  '  Oh,  my  husband,  our  separation  was 
easily  effected,  but  how  difficult  has  it  been  to  bring  us  again 


o 


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ROSE   VERTE.  409 

together.     Since  we  parted  at  the  melon  gardens  thousands 
of  clouds  and  myriads  of  hills  have  intervened.     Husband,  you 
have   stayed   at  Funchow  seeking   worldly   honours,  I   alas! 
have  been  here,  by  the  side  of  this  well,  shedding  rivers  of 
tears.     Hasten  in  three  days  to  return  with  your  son ;  if  you 
delay,  I  shall  have  entered  the  barred  gates  of  Hades,  and  be 
among  the  shades.     For  every  word  I  write,  a  thousand  tears 
flow.     Husband  !  let  not  an  answer  be  a  matter  of  indifference/ 
Sprinkling  the  envelope  with  her  tears,  she  handed  it  to  the 
young  officer,  who  bade  her  trust  to  him  and  cease  from  sor- 
rowing.     That   young    officer   was    her   son.      Her   husband, 
Lew-che-yuen,  became  King  of  Tsin,  and  raised  the  afflicted, 
sorrow-smitten  water-carrier,  San-neang,  to  be  the  partner  of 
his  throne.     He  became  the  Hwang-te,  the  great  emperor  of 
the  How-han  dynasty,  and  received  many  good  lessons  from 
the    empress,   who    had    learned   wisdom    in    the    school   of 
affliction." 

No.  707.  Rose  verte  dish.  Diameter,  Hi  inches;  height, 
2  inches.  No  mark,  two  blue  rings.  The  diaper  patterns  on 
the  band  at  edge  are  new,  and  are  painted  over  the  opaque 
pink  and  green  enamel  grounds  which  alternate  between  the 
reserves  ;  these  are  marked  off  by  yellow  bands  and  ornamented 
with  blue  enamel  foliated  designs.  In  the  centre,  from  two 
blue  enamel  rocks,  shaped  like  tables  and  relieved  with  red, 
two  cocks  challenge  each  other.  The  dish  has  been  a  good 
deal  rubbed  by  usage,  so  that  their  tails  have  in  great  part 
disappeared.  The  pseonies  are  in  the  usual  pink,  the  top  one 
having  a  blue  middle,  while  above  the  bud  is  in  red  and 
white. 

In  Nos.  708,  709  we  have  an  instance  of  a  rose  piece  with 
a  Ming  mark,  probably  on  account  of  the  decoration  consisting 
of  a  branch  of  pomegranate  with  fruit  and  flowers,  which  may 
have  been  a  Ching-hwa  design.  This  pear-shaped  vase,  with 
wide  neck,  is  6}  inches  in  height,  and  the  mark  in  four 
characters,  the  "  great  Ming "  being  omitted.  The  flowers 
are  in  rose,  while  the  fruit  is  more  of  an  orange  vermilion, 
the  stem  in  brown  enamel  and  the  foliage  in  two  shades  of 
green.  The  one  butterfly  is  blue  and  red,  and  the  other 
yellow,  blue,  and  red.  Here  and  there  where  the  flower  has 
gone  and  the  fruit  is  just  commencing  to  form,  are  small  yellow 


410  KEEN-LUNG. 

bulbs.  The  charm  of  this  piece  is  the  brilliancy  of  the 
colouring. 

No.  710.  Eose  verte  plate  with  gilded  brown  edge.  Dia- 
meter, 21^  inches  ;  height,  2|  inches.  No  mark.  The  style 
of  decoration  is  the  same  as  in  No.  705,  the  border  covering 
only  half  the  rim  while  the  central  painting  is  brought  up 
thereto.  The  diaper  employed  is  the  octagon  and  square 
jDattern  which  is  carried  all  round,  the  colouring  being  green 
relieved  by  red,  blue,  and  yellow  enamels.  The  reserves  are 
marked  off  by  yellow  and  blue  bands,  the  flowers  therein  being 
in  rose  with  green  foliage,  while  a  pink  flower  is  thrown  on  the 
diaper  between  the  reserves.  The  marking  off  is  done  in  red, 
the  trellis-work  being  ruled  off  in  this  colour  and  filled  in 
green  between  the  red  lines.  It  is  not  often  that  on  pieces  of 
this  size  such  careful  painting  is  to  be  met  with  as  in  the 
frame-work  and  creeper  that  covers  it.  The  subject  is  five 
ladies  assisting  a  sixth  to  mount  a  pink  palfrey.  The  costumes 
are  in  beautiful  enamels,  pink,  green,  blue,  yellow,  and  other 
colours  in  various  shades.  Except  on  the  trunk  of  the  dwarf 
pine  there  is  no  ambergine,  that  of  the  peach  tree  being  in 
green  and  sepia,  while  the  flowers  are  in  pink.  The  back  of 
the  plate  is  left  without  any  decoration. 

"  This  scene  represents  Kwoh  Kwoh  Fu-jen,  the  sister  of  the 
Princess  Yang,  riding  to  see  the  Emperor  Ming  Hwang." 

Mayers,  p.  156  :  "  Ming  Hwang,  a.d.  685-762, the  title  under 
which  Hiian  Tsung,  of  the  T'ang  dynasty,  is  commonly  referred 
to.  His  reign,  which  extended  over  the  long  period  of  forty- 
four  years,  is  one  of  the  most  celebrated  in  Chinese  history, 
owing  to  the  splendour  of  its  commencement,  and  the  disasters 
which  marked  its  close.  In  many  respects,  the  career  of  this 
famous  sovereign  bears  a  likeness  to  that  of  Louis  XV.  of 
France.  A  grandson  of  the  Emperor  Kao  Tsung,  the  young 
Prince  Lung  Ki  was  not  the  direct  heir  to  the  throne,  but, 
having  distinguished  himself  during  the  brief  reign  of  Jui 
Tsung  in  a.d.  710,  by  successfully  combating  the  attempt 
made  by  kindred  of  the  Empress  Wei  to  overthrow  the  dynasty, 
he  was  recognized  as  heir-apparent.  Succeeding  to  the  throne 
in  713,  he  for  some  time  gave  promise  of  great  assiduity  and 
moderation  in  his  government.  In  his  second  year  he  issued 
a  sumptuary  decree  prohibiting  the  extravagant  costliness  of 


710. 


[To  face  p.  410. 


ROSE  VERTE.  411 

apparel  which  was  in  fashion,  and  set  an  example  by  causing 
a  bonfire  to  be  made  in  his  palace  of  a  vast  heap  of  embroidered 
garments  and  jewellery.  Under  the  influence  of  the  wise 
counsels  of  Chang  Yueh,  Chang  Kiu-ling,  and  other  ministers, 
his  administration  of  the  empire  prospered,  and  divers  reforms 
were  introduced  ;  but,  as  time  rolled  on,  the  emperor,  satiated 
with  the  pleasures  of  rule,  lapsed  by  degrees  into  a  craving 
for  ease  and  sensual  enjoyment.  The  crafty  courtier  Li  Lin-fu 
encouraged  these  longings  with  a  view  to  his  own  aggrandize- 
ment, and  the  passion  which  the  emperor  conceived,  in  734, 
for  the  Princess  Yang,  the  consort  of  one  of  his  sons,  marked 
the  commencement  of  an  era  of  infamy  and  extravagance, 
which  led  at  length  to  universal  disorganization.  About  742 
a  Turkish  minion  of  the  court,  named  Ngan  Lu-shan,  grew 
into  high  favour.  The  government  was  soon  abandoned  into 
his  hands,  and  wielded  under  the  influence  of  the  three 
sisters  of  Yang,  who,  with  their  brother  Yang  Kwoh-chung, 
had  complete  control  over  the  emperor's  enfeebled  will. 
A  revolt  was  at  length  undertaken  by  Ngan  Lu-shan,  and 
the  empire  was  shortly  in  a  blaze  of  insurrection,  the  aged 
author  of  these  calamities  being  driven  from  his  capital  and 
forced  to  take  refuge  in  the  extreme  west  of  China,  under- 
going the  misery  of  seeing  his  male  and  female  favourites 
butchered  before  his  eyes  (a.d.  756).  He  hereupon  abdicated 
in  favour  of  his  son,  who  became  the  Emperor  Suh  Tsung ' 
(p.  267).  "  Yang  Kwei-fei.  The  Princess  Yang,  celebrated 
as  the  all-powerful  favourite  of  the  Emperor  T'ang  Hiian 
Tsung.  She  was  the  daughter  of  Yang  Huan-yen,  a  native 
and  petty  functionary  in  Western  China.  Having  attracted 
notice  by  her  surpassing  beauty  and  accomplishments,  she 
became,  in  a.d.  735,  one  of  the  concubines  of  Prince  Show, 
the  emperor's  eighteenth  son.  Three  years  later,  on  the  death 
of  the  then  imperial  favourite,  the  ministers  to  Ming  Hwang's 
pleasures  cast  their  eyes  upon  the  lovely  Princess  Yang.  No 
sooner  had  the  emperor  obtained  a  sight  of  his  daughter-in- 
law  than,  violently  enamoured,  he  caused  her  to  be  enrolled 
among  the  ladies  of  his  seraglio,  bestowing  in  exchange  another 
consort  on  his  son.  Before  a  year  had  elapsed,  so  great  an 
ascendency  had  been  gained  in  the  harem  by  the  now-called 
Yang  T'ai-chen  that  she  obtained  from  the  entire  court  and 


412  KEEN-LUNG. 

from  the  emperor  liimself  demonstrations  of  respect  such  as 
justly  appertain  to  none  but  the  empress  consort."  We  are 
told  that  in  745  she  was  raised  to  the  rank  of  Kwei  Fei,  second 
in  dignity  to  that  of  the  empress,  and  that  the  emperor,  growing 
more  shameless,  introduced  into  the  harem  her  three  sisters, 
raising  them  to  the  rank  of  princesses,  and  endowing  them 
with  valuable  fiefs  from  which  they  took  their  titles,  Kwoh 
Fu-jen,  Kwoh  Kwoh  Fu-jen,  and  Ts-in  Kwoh  Fu-jen.  Her 
father  and  brother  (a  coarse  uneducated  voluptuary)  were 
raised  to  high  office.  No  outlay  was  spared  to  gratify  her 
caprices,  tributary  kingdoms  were  ransacked  for  gems,  and, 
during  the  early  summer,  relays  of  couriers  were  employed  in 
transporting  from  Southern  China  supplies  of  litchi,  a  fruit  of 
which  she  was  immoderately  fond.  In  a.d.  756  the  famished 
soldiery  rose  in  revolt,  and  the  emperor  was  forced,  it  is  said 
with  unutterable  anguish,  to  order  the  eunuch  Kao  Li-sze  to 
strangle  the  Princess  Yang,  "whilst  the  latter's  brother 
Yang  Kwoh-chung  and  her  sister  Ts'in  Kwoh  Fu-jen,  were 
torn  from  the  imperial  presence  by  the  revolters  and  publicly 
massacred." 

Nos.  711,  712,  710.  A  rose  verte  vase.  Height,  17  inches. 
No  mark.  This  is  one  of  the  pieces  with  the  five  bats  (see 
No.  33-1),  and  is  a  very  good  specimen  of  its  class.  Seven 
ladies  are  ranged  round  the  vase  under  the  shade  of  a  pine 
tree,  the  trunk  of  which,  as  is  usual  at  this  period,  is  painted 
in  sepia.  We  cannot  but  regret  the  rich  aubergine  or  green 
trunks  of  the  Kang-he  period,  but  in  this  case  can  console 
ourselves  with  the  beauty  of  the  ladies'  dresses,  most  carefully 
painted  in  lovely  coloured  enamels,  all  of  delicate  tone.  We 
can  see  European  influence  in  the  style  of  the  drawing  and  in 
the  painting.  To  begin  with,  the  ground  is  coloured  with  a 
light  green  wash  from  the  base  of  the  vase  up  to  the  garden 
fence ;  the  rocks  in  sepia  with  just  the  suggestion  of  red  are 
painted  with  all  the  care  required  to  represent  marble,  while 
the  bamboo  fence  shows  all  the  joints.  "  The  motive  shows 
the  seven  star-like  damsels  picking  flowers — one  carries  a  vase, 
another  a  bouquet,  another  a  flower-basket." 

Some  way  back  we  considered  five  figures  belonging  to  the 
Kang-he  period  :  let  us  now  glance  at  those  of  the  present 
reign,  which  we  have  the  opportunity  of  doing  in— 


fin 


£ 


CO 


CO 


ROSE   VERTE.  413 

Nos.  714,  715.  Height,  16J  inches.  No  mark.  Being 
the  figures  of  two  ladies  holding  each  a  vase  intended  perhaps 
as  a  candle-bracket,  but,  judging  from  the  size  of  the  socket, 
more  likely  as  a  joss-stick  stand.  The  tunics  of  the  ladies 
are  made  of  a  flowered  chintz  with  circular  ornaments  of  green 
scroll  work,  with  gilt  and  rose  introduced.  The  girdle-skirts 
are  of  a  deep  brick-red  with  gilt  ornaments,  and  bordered  with 
black,  relieved  with  gilt.  The  skirts  are  white  with  some 
black  edging  and  green  bands,  the  same  pattern  as  on  the 
tunics. 

"  This  is  simply  an  idol  attendant,  and  has  no  name,  so  far 

as  I  can  find  out." 

No.  716.  Rose  verte  plate.  Diameter,  15]  inches;  height, 
2  inches.  No  mark.  At  the  edge  there  is  a  green  diaper 
band,  the  rest  of  the  rim  being  decorated  with  four  flower- 
sprays,  dark  rose-coloured  pa3onies  and  other  flowers.  The 
sides  are  covered  with  a  scroll  pattern  in  blue  enamel,  broken 
with  red  and  yellow  alternate  flowers.  The  decoration  is 
marked  off  by  red  circles,  that  in  the  centre  consisting  of  a 
lady  with  attendant  and  a  yellow  deer.  The  figures  are 
dressed  in  blue  and  green  enamels,  the  skirt  of  the  lady  being 
rose-coloured.  The  trunk  of  the  pine  is  a  sort  of  purple 
aubergine,  the  rocks  being  in  that  colour  and  blue  enamel, 
inclining  to  shade  off  into  rainbow  tints. 

"  This  scene  represents  the  Fairy  Ma  Ku,  on  the  birthday 
of  the  Queen  of  Heaven,  going  to  congratulate  that  lady. 
She  is  carrying  a  basket  of  flowers  and  a  joo-e  '  as  you  wish.' 
The  deer  is  an  emblem  of  longevity.  Behind  the  fairy  is  a 
female  attendant  carrying  a  wine-bottle,  in  order  to  present 
wine  to  the  Queen  of  Heaven.  The  Queen  of  Heaven  is  said 
to  be  the  wife  of  the  Shang-ti,  the  Pearly  Emperor." 

"  Chinese  Biographical  Dictionary,"  p.  568:  "Ma  Ku,  second 
century,  a.d.  The  sister  of  Wang  Yuan,  and  like  her  brother 
an  adept  in  the  black  art.  By  her  agency  a  large  area  on  the 
coast  of  Kiangsu  was  reclaimed  from  the  sea  and  transformed 
into  mulberry  orchards.  She  had  long  finger-nails  like  the 
talons  of  a  bird,  which  caused  Ts'ai  Ching  to  remark  how  con- 
venient they  would  be  for  scratching  one's  back,  whereupon 
he  was  suddenly  belaboured  over  the  shoulders  by  strokes 
from  an  unseen  whip.     She  died  at  the  age  of  120." 


4H  KEEN-LUNG. 

In  considering  the  rose  verte  section,  attention  must  be 
called  to  those  pieces  decorated  in  part  with  what  looks  much 
more  like  an  iron  red  than  anything  else,  but  is  probably  the 
result  of  some  combination  of  pigments  by  which  the  Chinese 
seem  to  have  been  able  to  bring  about  new  shades.  Their  skill 
in  so  doing  we  have  already  had  proof  of  in  the  peach-bloom 
class. 

Nos.  717,  718,  719.  A  "fancy  cylindrical  "  vase  (the  reader 
will  notice  the  change  in  shape  as  time  goes  on).  Height, 
17  inches.  No  mark.  On  the  neck  there  is  a  tripod  incense- 
burner,  a  black  and  white  cat,  lute,  boots,  vase  with  flower- 
scrolls,  chess-board,  and  round  vase  for  the  chessmen.  The 
decoration  on  the  body  of  the  vase  consists  of  a  wedding  scene. 
The  bridegroom  with  two  attendants  salutes  the  bride  with 
four  attendants,  while  at  the  back,  in  No.  717,  will  be  seen 
the  table  with  the  two  wedding  cups,  which,  it  will  be  noticed, 
have  horns  so  as  to  allow  of  their  being  tied  together  with  red 
cord  (see  p.  49).  The  particular  shade  of  red  referred  to, 
which  is  an  opaque  enamel,  appears  on  the  dresses  of  the  bride 
and  bridegroom,  as  also  on  the  lanterns  carried  by  the 
attendants,  and  is  relieved  in  the  first  instance  by  green 
dragons  with  yellow  heads,  also  clouds  in  white,  blue,  and 
yellow.  The  waves  towards  the  foot  of  the  dresses  are  in 
green  or  white.  The  trunk  of  the  palm  is  in  blue  enamel 
with  green  foliage,  and  the  colouring,  except  where  black 
appears,  is  for  the  rest  in  the  usual  pink  and  other  coloured 
enamels  of  the  period. 

The  marriage  customs,  no  doubt,  vary  greatly  in  a  large 
country  like  China ;  but  the  following  epitome  of  those  current 
at  Fuhchau,  as  given  by  Doolittle,  will  suffice  for  our  purpose. 
The  parents  arrange  the  match  through  a  go-between,  generally 
an  old  woman,  who  takes  a  card  with  the  young  man's  ancestral 
name  and  age  to  the  lady's  family,  who,  if  agreeable,  return  a 
similar  card,  fortune-tellers  having  been  previously  consulted 
by  both  families.  After  three  days,  if  nothing  unlucky 
happens,  cards  with  the  dragon  and  phojnix,  along  with  two 
red  cords  and  two  needles  in  each  are  exchanged  and  kept 
as  proof  of  the  engagement,  along  with  presents  (see  p.  210). 
"  The  red  silk  indicates  that  the  engagement  of  the  parties 
in  marriage  is  fixed  and  unalterable,  or,  in  common  language, 


GO 
i— ( 


WEDDING    CUSTOMS.  415 

it  is  said  that  their  feet  have  been  tied  together.     The  Chinese 
seem  to  be  firm  believers  in  the  sentiments  that  Fate  or  Heaven 
decides  who  are  to  become  husband   and  wife,  and  that   the 
act  of  parents  in  engaging  their  children  is  an  exponent  of 
the  will  of  Heaven  or  the  decrees  of  Fate,  corresponding  to 
the  western  saying,  '  that  matches  are  made  in  heaven.'     Some 
say  that  these  threads  are  kept  professedly  for  the  purpose  of 
tying  together  the  goblets  out  of  whicli  the  bride  and  bride- 
groom drink  wine  on  the  day  of  their  marriage.     Sometimes 
they  are  actually  thus  used  on  that  occasion.    More  frequently, 
however,  a  new  red  cord  or  string  is  then  used,  and  the  old 
cords  taken  and  put  into  the  cue  of  the  bridegroom,  or  worked 
into  the  shoes  worn  by  the  bride  on  the  day  of  their  marriage, 
as  omens  of  good.     The  use  of  the  large  needles  in  betrothing 
parties  is  also  auspicious.     According  to  some,  they  serve  to 
*  draw  the  thread  along.'     It  is  sagely  asked  what  is  the  use 
of  a  thread  unless  there  is  a  needle  by  which  to  use  it  ? '      The 
engagement  may  run  for  a  month  or  two,  or  for  years,  accord- 
ing to  the  age  of  the  parties.     The  wedding  day  is  fixed  by 
the  fortune-teller,  as  also  the  dates  of  the  various  ceremonies 
that  have  to  be  gone  through.     About  a  month  before  the 
wedding  the  bridegroom  presents  the  "  cakes  of  ceremony," 
with  other  presents,  according  to  the  means  of  his  family,  and 
these  are  sometimes  paraded  through  the  streets  so  as  to  be 
seen  by  everybody.    Two  or  three  days  before  the  wedding,  the 
bride's  family  send  a  card  stating  what  furniture  will  be  sent, 
and  the  money  for  the  porters  bringing  it  has  to  be  ready  at 
the  time  fixed,  enclosed  in  red  paper  or  tied  by  red  string. 
Chinese  coins,  having  a  square  cut  out  of  the  centre,  are  carried 
in  strings.     Usually  the  day  before  the  wedding,  the  bride  has 
her  hair  done  up  in  the  style  of  married  women  of  her  class 
in  society,  female  friends  being  invited  to  a  feast  to  inspect 
the  bride's  outfit.     On  the  day  of  the  wedding  the  bridegroom 
sends  a  sedan  for  his  bride,  usually  between  five  and  eight  in 
the  morning,  in  which,  thickly  veiled,  she  is  conveyed  to  her 
future  home.     About  half-way  the  procession  stops,  and  the 
important  ceremony  of  receiving  the  bride  is  transacted ;  cards 
are  again   exchanged,  and  the  bride's  relations  return  hoine. 
On  arrival  after  various  ceremonies  (see  p.  47)  the  bride  is 
lifted  out  of  the  sedan,  in  some  places  over  a  pan  of  burning 
vol.  ir.  l 


416  KEEN-LUNG. 

charcoal,  into  the  house,  and  is  joined  by  the  bridegroom,  who 
conducts  her  to  a  seat,  and  in  sitting  down  tries  to  sit  on  some 
portion  of  her  clothing  as  an  omen  that  she  will  be  submissive, 
but  sometimes  the  bride  manages  to  get  some  part  of  his  dress 
under  her  so  as  to  show  she  is  not  going  to  give  up  a  proper 
independence.  After  this  the  ceremony  of  "  worshipping  the 
tablets  "  is  performed,  the  table  being  set  out  with  two  candle- 
sticks with  large  lighted  candles  and  a  censer  with  lighted 
incense  between  them,  the  two  cups  with  the  red  cord,  two 
miniature  cocks  made  of  white  sugar  (see  p.  89),  five  kinds  of 
dried  fruit,  a  bundle  of  chop  sticks,  a  foot  measure,  a  mirror, 
a  pair  of  shears,  and  a  case  containing  money-scales.  Some  or 
all  of  these  are  frequently  placed  on  a  tray  made  out  of  the 
wood  of  the  willow  tree.  At  certain  signals  both  kneel  down 
four  times,  bowing  their  heads  to  the  earth.  They  then 
change  places  and  bow  again  four  times  as  before ;  this  is 
called  "  worshipping  heaven  and  earth."  They  then  turn  round, 
and  in  like  manner  worship  the  ancestral  tablets,  which  they 
then  face,  after  which  they  face  each  other  and  kneel  again 
four  times.  One  of  the  female  assistants  then  takes  the  two 
goblets  containing  wine  and  honey,  which  she  pours  from  one 
to  the  other  several  times,  thereafter  holding  one  to  the  mouth 
of  the  groom  and  the  other  to  the  mouth  of  the  bride,  and 
repeats  the  operation,  changing  the  cups.  Bits  of  the  sugar 
cocks  are  handed  to  each,  with  perhaps  some  of  the  dried 
fruit.  The  bride,  along  with  the  candles,  is  then  accompanied 
to  her  room  where  the  veil  is  removed,  after  which  she  joins 
her  husband,  who  then  for  the  first  time  sees  her  face,  and 
this  is  probably  the  scene  represented  in  No.  717.  They  then 
sit  down  to  their  first  meal  together ;  but  the  rule  is  that  the 
bride  must  eat  nothing  on  her  wedding  day.  After  this  the 
bride  holds  a  reception,  to  which  sometimes  the  public  are 
admitted,  and  she  must  be  careful  not  to  show  any  annoyance 
should  the  remarks  made  on  her  appearance  not  be  flattering. 
The  candles  in  the  bride's  room  are  supposed  to  burn  all  night ; 
if  one  or  both  goes  out  it  is  a  bad  omen,  foretelling  the 
untimely  death  of  one  or  both  ;  on  the  other  hand,  if  the 
candles  burn  out  about  the  same  time,  it  indicates  that 
the  couple  will  have  the  same  length  of  life,  and  the  longer 
the  candles  burn,  the  longer  will  the  couple  live.     The  candles 


720.  , 


721. 


[To  face  p.  417. 


ROSE   VERTE.  417 

must  not  melt  and  trickle  down  the  sides,  or  that  would 
resemble  tears  and  betoken  sorrow.  "The  outer  garments, 
including-  the  veil,  provided  by  her  husband  for  the  occasion, 
are  richly  embroidered  with  dragons.  In  ancient  times  a 
certain  empress  graciously  granted  the  privilege  of  wearing 
such  apparel  to  brides  on  the  morning  of  their  marriage,  and 
also  permitting  them  to  be  borne  by  four  bearers  as  well  as 
to  wear  temporarily  a  very  gaudy  head-dress,  worn  generally 
by  wives  of  high  officers  "  (see  p.  80). 

Attention  must  be  called  to  the  shape  of  this  vase.  It  is 
the  first  we  have  come  across  of  what  are  known  by  the  name 
"fancy  cylindrical."  They  seem  to  have  been  in  vogue  about 
this  time  and  onwards. 

No.  720.  Rose  verte  shaving  dish.  Diameter,  12^  x  9^ ; 
height  3  inches.  No  mark.  At  back  there  is  a  red-spiked  band 
at  top  of  stand,  on  the  rise  one  red  pjeony  and  two  flower  sprays. 
The  edge  is  turned  up  so  as  not  to  cut  the  neck  when  placed 
under  the  chin,  and  is  finished  off  with  a  gilt  band.  The  rim  is 
beautifully  painted,  being  covered  with  green  speckled  work 
on  which  are  thrown  pink  pgeonies  and  chrysanthemums  along 
with  primus  and  peach  blossoms  which,  with  bamboo  leaves, 
form  a  sort  of  pattern.  The  figures  in  the  centre  are  in  dull 
colours,  green,  orange,  purple,  yellow,  and  olive  coloured 
enamels  of  no  merit,  but  the  jar  being  carried  by  the  atten- 
dant is  of  a  lovely  pink,  same  as  the  flowers  on  the  rim.  It 
is  the  decoration  on  the  rims  of  these  dishes  that  commends 
them  to  collectors,  and  they  now  bring  considerable  prices, 
being  scarce  and  difficult  to  meet  with.  "  This  represents  a 
retired  mandarin  of  the  Han  Dynasty  sitting  under  an  apricot 
tree  in  full  bloom,  which  was  his  constant  practice  when  the 
trees  were  blossoming,  as  he  had  a  great  love  for  the  flowers. 
His  name  was  Lin  Huo  Ching.  He  appears  to  be  playing 
chess." 

No.  721.  Rose  verte  deep  plate.  Diameter,  15J  inches  ; 
height  ok  inches.  No  mark.  Brown  edge.  On  the  rim  we  have 
six  landscapes  between  alternate  pink  and  green  diapers,  with 
pseonies  on  the  former  and  primus  or  peach  blossom  on  the 
latter.  The  sides  are  left  plain  except  for  a  pointed  brown 
band  at  foot  relieved  by  gilt.  The  floor  of  the  pavilion  is  in 
blue,  pink,  green,  and  purple  opaque  enamels  and  black  pillars. 


41S  KEEN-LUNG. 

"During  the  T'ang*  Dynasty,  when  the  Emperor  Hiien 
Tsung  was  choosing  ladies  for  his  harem,  one  damsel  named 
Yang  Kwei-fei,  a  very  pretty  girl,  was  chosen  to  sit  in  the 
royal  chariot  and  enter  the  palace.  The  emperor  took  a  great 
fancy  to  her,  and  made  her  a  royal  concubine.  She  is  here 
depicted  leaving  the  chariot." 

A  full  account  of  this  lady  is  given  under  No.  710  as  the 
Princess  Yang. 

Nos.  722,  723,  724.  Before  passing  on  further  we  may  as 
well  look  at  another  form  of  this  style,  a  conical  vase. 
Height  15|  inches.  No  mark.  There  is  a  metal  ring  at  the 
top,  so  apparently  at  one  time  it  must  have  been  higher,  and 
for  some  reason  or  other  been  cut  down.  Of  porcelain,  some- 
what similar  to  the  pilgrim  bottle,  No.  703.  The  decoration, 
done  with  less  care,  here  consists  of  three  female  figures,  one 
of  which  is  on  the  neck,  with  the  trunk  of  a  tree  at  her  back. 
On  the  other  side  of  the  vase  there  is  nothing  but  the  trunk 
of  a  tree  sketched  in  sepia  and  tinted  with  a  sort  of  purple 
wash,  a  pink  and  yellow  fungus  resting  at  foot.  The  ladies 
dresses  are  in  blue,  green,  and  yellow  enamels  of  good  trans- 
parent quality,  with  the  same  gold  purple  we  find  on  the 
pilgrim  bottle,  only  of  a  redder  shade.  There  is  no  trace  of 
aubergine,  which  by  this  time  seems  to  have  gone  quite  out 
of  fashion. 

"  Once  upon  a  time  two  fairies  took  their  hoes,  and  going 
to  the  mountain  of  the  heavenly  terrace,  planted  a  garden  of 
medicinal  herbs." 

No.  725.  A  rectangular  vase  with  carved  wood  top,  base 
apparently  fixed  into  wooden  stand.  Height  18  inches. 
AVhite  porcelain  inside.  This  vase  seems  to  have  been  made 
in  four  pieces  which  were  joined  together  before  the  firing. 
The  panels  are  edged  by  green  bamboos  spotted  with  brown, 
two  are  decorated  with  peaches,  one  with  pomegranates,  and 
one  with  finger  citrons,  all  having  aubergine  stalks.  The 
rocks  at  foot  are  in  shaded  colours,  red,  blue,  and  green.  This 
vase  is  not  as  old  as  it  looks,  but  is  probably  a  reproduction 
of  an  old  shape,  the  peaches  are  in  shades  of  pink,  so  we  shall 
not  be  very  far  out  in  calling  it  a  Keen-lung  piece,  the  more 
so  that  the  colouring  of  the  rocks,  having  a  tendency  to  rain- 
bow tints,  is  quite  in  keeping  with  this  period.     It  is  odd  that 


CO 

1—1 


CI 

I- 


CO 

1-- 


ox 
1^- 


725. 


[To  face  p.  418. 


726. 


727. 


[To  face  p.  419. 


ROSE   VERTE.  419 

in  imitating  old  pieces  the  Chinese  did  not  use  the  old  colours 
or,  as  a  rule,  make  any  attempt  to  do  so,  the  aubergine  stalks 
being  the  only  concession  in  this  case  to  the  past.  Fruit 
subjects  were  in  vogue  about  the  Yung-ching  period ;  but  this 
piece  seems  to  lack  the  careful  technique  of*  that  time,  and  is 
probably  of  later  date.     This  piece  belongs  to  Mr.  Willett. 

Nos.  72(3,  727  represent  a  pair  of  rose  verte  dishes.  Brown 
edge,  diameter  14  inches,  height  2\  inches.  No  mark.  The 
decoration  is  marked  off  by  five  black  rings,  the  diaper  bands 
being  in  pink  and  light  green  of  blue  tint,  four  of  the  diapers 
are  the  old  trellis-work  pattern,  but  two  are  new,  a  sort  of 
spider's- web  work.  The  reserves  at  the  sides  are  marked  off 
in  yellow  and  decorated  with  various  symbols.  In  the  groups 
in  the  centre  a  rich  yellow  enters  very  largely  into  the  com- 
position, one  of  the  horses  in  each  being  yellow,  as  also  the 
banners.  The  other  horse  is  of  a  dull  white  enamel.  The 
greens  are  in  two  shades  of  yellow  and  a  blue.  The  sky  is 
painted  in  pink,  which  colour  enters  freely  into  the  dresses,  as 
also  blue  enamel. 

No.  726.  "  During  the  time  of  the  three  kingdoms  of  Shu, 
Wei,  and  Woo,  General  Clio  of  Wei  sent  an  inferior  officer 
named  Chang  with  troops  to  surround  the  house  of  Lau  Ke. 
His  wife  fell  into  the  hands  of  the  enemy,  and  was  rescued  by 
an  officer  named  Tieu,  who  is  shown  with  a  sword  and  bow 
and  arrows ;  he  gave  the  lady  his  horse  on  which  she  is  seen 
seated.     The  officer  Chang  is  seen  behind  in  pursuit." 

No.  727.  "  The  Emperor  Yuan  Te  of  the  Han  dynasty  had 
a  concubine  named  Wong,  who  was  very  pretty,  and  played  well 
on  the  guitar.  The  king  of  Sieng  U,  hearing  of  her,  came  witli 
an  army  to  seek  her,  and  conquered  Yuan  Te,  who  was  therefore 
obliged  to  send  her  with  her  adopted  younger  brother  to  Sieng 
U  to  beg  for  peace. 

"  The  picture  depicts  them  on  their  way  ;  the  figure  on  the 
left  is  the  adopted  brother,  an  attendant  is  walking  beside  the 
ladv,  and  a  banner-man  is  holding  a  banner  over  her." 

Mayers,  p.  14.  "  Chao  Kim,  surnamed  Wang.  A  famous 
heroine  of  romance.  Said  to  have  been  taken  into  the  harem 
of  Han  Yiian  Ti,  B.C.  48,  where,  however,  she  was  secluded 
from  the  notice  of  her  Imperial  lord  through  the  malice 
of  his   treacherous    minister,    Mao    Yen-Show.      The    latter, 


420  KEEN-LUNG. 

according  to  one  version  of  a  romance  which  is  variously 
related,  had  been  commissioned  to  bring  her  to  the  palace 
on  a  report  of  her  beauty  reaching  the  Court,  and  she  was 
found  by  him  to  be  of  surpassing  loveliness,  the  daughter  of 
poor  but  worthy  parents.  Her  father  refused  to  pay  a  sum 
demanded  from  him  as  a  bribe  by  Mao  Yen-Show,  who,  in 
revenge,  presented  to  the  emperor  a  portrait  so  little  like  the 
original  that  his  Majesty  conceived  no  wish  to  see  the  new 
addition  to  his  seraglio,  and  she  languished  in  oblivion  for  years, 
until  chance  threw  the  emperor  across  her  path,  when  he  at 
once  became  enamoured  of  her  beauty.  The  faithless  minister, 
his  wiles  discovered,  fled  from  Court,  and  took  refuge  with  the 
Khan  of  the  Hiung-nu,  to  whom  he  showed  the  real  portrait 
of  Chao  Klin.  The  Khan,  fired  by  the  hope  of  obtaining 
possession  of  so  peerless  a  beauty,  invaded  China  in  irresistible 
force,  and  only  consented  to  retire  beyond  the  wall  when  the 
lady  was  surrendered  to  him.  She  accompanied  her  savage 
captor,  bathed  in  tears,  until  the  banks  of  the  Amur  (Heh-lung 
Kiang  boundary)  were  reached,  when,  rather  than  go  beyond  the 
fatal  boundary,  she  plunged  into  the  waters  of  the  stream.  Her 
corpse  was  interred  on  the  banks  of  the  river,  and  it  is  related 
that  the  tumulus  raised  above  her  grave  remained  covered  with 
undying  verdure  (whence  the  tomb  is  called  Ts'ing  Ch'ung). 
The  history  of  Cho  Kim  forms  the  basis  of  the  drama  translated 
by  Sir  John  Davis,  with  the  title  '  The  Sorrows  of  Han.'  The 
actual  historical  fact,  as  narrated  in  the  T'ung  Kien  Kang  Muh, 
is  that,  in  B.C.  33,  the  emperor  cemented  an  alliance  with  the 
Khan  of  the  Hiung-nu  by  bestowing  upon  him  in  marriage, 
on  his  visiting  the  Court,  the  lady  called  Chao  Kiin,  who,  on 
reaching  the  country  of  her  adoption,  became  recognized  as 
queen,  with  the  title  of  King  Hu." 

Nos.  728,  729.  "  Two  rose  verte  dishes,  brown  edges. 
Diameter,  13|  inches;  height,  2h  inches.  No  mark.  Here 
the  decoration  is  again  marked  off  by  five  black  lines.  The 
diapers  are  in  green  and  pink,  the  reserves  being  partitioned 
off  at  the  sides  by  yellow  bands  ;  this  colour  also  appears  in 
the  dresses,  but  is  of  a  faint  shade.  The  blue  is  over  the  glaze, 
but  takes  more  of  a  purple  tint.  Of  greens  there  are  three 
shades — the  old  that  we  find  on  the  famille  verte  proper,  a 
yellow,  and  a  thin  bluish.     In  No.  729  the  trunk  of  the  tree  is 


728. 


729. 


[To  face  p.  420. 


730. 


[To  face  p.  421. 


MILLE   CERF.  421 

not  aubergine,  as  of  old,  but  is  painted  in  brown  and  black. 
The  dull  white  enamel  which  we  found  in  Nos.  726,  727  is 
present  in  small  quantities  where  the  underclothing  shows  on 
the  figures  in  the  centre.     The  ground   is  formed   by   light 
sepia  washes. 

No.  728.  "  This  shows  the  prefect  Sie  Pok  Chiong  restoring 
a  boy,  who  had  been  kidnapped,  to  his  father." 

No.  729.  "  Depicts  the  old  fairy,  Nan  Kik,  carrying  a  staff, 
accompanied  by  a  fairy  boy,  with  a  musical  instrument.  On 
the  road  they  meet  two  other  fairies,  one  carrying  fungus." 

Mille  Cerf. 

This  class  might  be  called  late  famille  verte. 

No.  730.  A  pear-shaped  vase,  with  short  neck  and  wide 
mouth;  unglazecl  base.  Height,  20  inches.  Deer-head 
handles.  No  mark.  Made  of  rather  wavy  porcelain.  The 
decoration  shows  traces  of  European  influence,  and  seems  to 
have  taken  in  France  under  the  name  of  the  Mille  Cerf.  The 
colouring  is  chiefly  in  browns  and  greens,  the  latter  being  of 
that  blue  shade  so  often  to  be  met  with  in  Yung-Ching  pieces, 
so  that  we  are  probably  not  far  out  in  according  these  vases 
to  this  time,  or  a  date  near  it.  The  stems  of  the  pines 
are  not  in  aubergine,  but  painted  in  sepia  and  browns ;  while 
the  hills  seem  to  be  traced  in  sepia  and  coloured  in  browns 
and  green,  some  of  the  higher  peaks  being  in  blue  enamel. 
The  pheasants  introduced  here  and  there  are  in  a  dull  red, 
very  thinly  applied. 

Pere  Gerbillon  seems  to  have  accompanied  the  Emperor 
Kang-he  some  seven  times  into  Tartary  on  hunting  expeditions. 
The  following,  taken  from  the  account  of  the  fourth  journey, 
gives  a  very  good  idea  of  how  the  sport,  as  far  as  stag-hunting 
was  concerned,  was  carried  on.  They  set  out  from  Peking 
on  the  8th  September,  1692  :— ."  The  16th  his  Majesty  set 
out  before  day  to  go  a  stag-hunting ;  we  went  20  li  before  we 
dined.  About  10  li  further,  having  advanced  a  little  into  the 
mountains,  the  emperor  killed  a  stag  that  weighed  above  500 
pounds.  From  thence  we  entered  into  a  pretty  large  valley, 
abounding  in  quails  and  pheasants,  many  of  which  were  catched 
by  the  hawks,  and  the  emperor  shot  with  arrows  some 
pheasants  flying.     About  two  his  Majesty  ordered  supper  to 


422  KEEN-LUNG. 

be  made  ready,  it  being  the  custom  of  the  Tartars  to  sup  very 
early.  He  himself  dressed  the  liver  of  the  stag  he  had  killed, 
this  and  the  haunch  being  esteemed  here  as  the  most  delicate 
pieces. 

"The  17th  the  weather  was  rainy,  which  prevented  the 
emperor  from  going  a  stag-hunting. 

"  The  18th  the  weather  being  cloudy  the  emperor  did  not 
hunt  with  the  stag-call,  but  made  some  rings  and  had  very 
good  sport. 

"The  19th  the  ernperor  set  out  at  daybreak  to  go  stag- 
hunting,  but  having  lost  some  time  in  pursuit  of  a  tiger,  to  no 
purpose,  it  became  too  late  to  use  the  stag-call ;  however,  in 
three  rings  thirty  or  forty  stags  and  roebucks  were  killed. 

"  The  20th  at  daybreak  we  set  out  along  with  the  emperor 
to  hunt  with  the  stag-call.  As  the  stag  would  not  answer  the 
call,  we  had  recourse  to  rings,  and  killed  a  great  number  of 
stags  and  roebucks,  with  five  wild  boars,  three  of  which  last 
fell  by  the  hand  of  the  ernperor.  The  21st,  the  emperor 
having  hunted  with  the  stag-call  without  success,  sent  for  five 
hundred  Korchin  Mongols,  in  whose  neighbourhood  we  were ; 
they  are  reckoned  excellent  hunters,  and  very  expert  in 
forming  circles ;  and  as  they  bear  their  own  expenses,  and 
use  their  own  horses,  the  emperor,  to  fatigue  them  the  less, 
divided  them  into  two  companies,  which  were  employed  alter- 
nately. This  day  they  made  double  rings,  the  innermost  was 
composed  of  Mongol  hunters,  the  second  consisted  of  the 
emperor's  hunters,  who  marched  fifty  or  sixty  paces  behind 
the  others,  and  had  orders  to  shoot  the  game  that  escaped  out 
of  the  first  ring,  within  which  the  prickers  beat  the  thickest 
places  of  the  wood.  The  Mongol  hunters  did  not  shoot  at  all. 
The  ring  was  made  on  the  declivity  of  a  mountain  covered 
with  wood ;  at  the  bottom  was  a  grassy  plain  with  some  small 
filbert  trees  interspersed,  which  were  no  impediment  to  the 
horses.  Beyond  this  was  a  steep  mountain,  which  no  wounded 
stag  that  escaped  out  of  the  wood  could  climb ;  but  being 
obliged  to  keep  the  plain,  was  exposed  to  the  shot  of  the 
hunters.  In  a  place  so  commodious  for  sport  it  could  not  fail 
to  be  both  successful  and  agreeable,  and  they  killed  eighty-two 
large  stags  and  roebucks,  very  few  escaping.  His  Majesty 
dined  in  the  open  field  with  the  usual  ceremonies.     The  23rd, 


MILLE   CERF.  423 

rings  were  made  in  like  manner,  but  not  with  equal  success, 
only  fifty  stags  and  roebucks  being  killed.  As  the  emperor 
was  riding  after  a  roebuck  his  horse  slipped  his  foot  and  fell, 
but  his  Majesty  received  no  hurt.  The  25th  the  emperor  set 
out  an  hour  before  day  for  Ulatay,  a  place  famous  for  hunting, 
the  neighbouring  country  being  full  of  hills  interspersed  with 
valleys  and  plains,  and  covered  with  groves  and  thickets, 
affording  a  delightful  prospect,  and  abounding  with  game. 
In  the  morning  he  killed  two  large  stags  decoyed  by  the  call ; 
they  afterwards  made  two  rings  and  killed  a  very  great  number, 
his  Majesty  striking  nine  with  his  own  hand.  The  26th  at 
daybreak  the  emperor  went  to  hunt  with  the  stag-call.  In  a 
small  plain  a  league  from  the  camp  we  perceived  three  large 
stags  walking  not  far  from  us,  whereupon  his  Majesty  alighted 
and  ordered  them  to  call  the  stag.  The  male  answered ;  but 
the  emperor  making  a  little  noise  as  he  advanced  with  the 
person  who  carried  the  stag's  head  before  him,  the  beasts  dis- 
covered the  snare,  and  ran  away  before  they  came  within 
musket-shot.  This  not  succeeding,  they  made  two  rings, 
wherein  they  killed  upwards  of  fifty  stags  and  a  few  roebucks, 
with  five  wild  boars,  but  the  high  wind  obliged  us  to  return 
early  to  the  camp.  The  29th  we  continued  in  the  camp,  but 
the  emperor  set  out  by  daybreak  for  a  place  in  the  mountains, 
called  Ulastay,  noted  for  a  prodigious  number  of  great  stags. 
The  hunting  began  with  the  stag-call,  and  his  Majesty  killed 
two  very  large  ones.  Towards  noon  a  ring  was  made,  in  which 
above  ninety  were  slain,  with  eight  or  ten  roebucks,  so  that  a 
hundred  and  two  of  both  sorts  were  brought  to  the  camp — 
the  emperor  himself  killed  thirty- six  in  a  short  time.  It  was 
a  pastime  worthy  of  a  prince  to  behold  these  stags  descending 
in  herds  on  all  sides  into  a  narrow  vale  between  two  very 
steep,  woody  mountains,  and,  as  there  was  no  passage  out,  some 
endeavoured  to  reascend  the  mountains,  and  others  forced  their 
way  through  the  hunters,  whom  they  sometimes  threw  off  their 
horses.  However,  as  the  ring  was  double  and  very  close,  his 
Majesty  had  given  leave  to  his  officers  and  hunters  to  shoot  all 
that  came  near  them,  so  that  scarce  one  escaped.  One  of  the 
pages  of  the  bed-chamber  being  very  near  the  emperor  his  horse 
pranced  and  threw  him  down  at  the  instant  he  was  shooting  at 
a  stag,  so  that  he  would  have  killed  one  of  his  companions  if 
VOL.  11.  L  2 


424  KEEN-LUNG. 

he  had  not  nimbly  turned  aside,  but  unfortunately  the  arrow 
grazed  on  his  Majesty's  ear.  The  horse  ran  away,  and  as  he 
belonged  to  the  emperor's  stables  the  page  ran  after  him  and 
took  occasion  to  absent  himself  the  rest  of  the  day ;  but  at 
night  he  returned  with  his  horse,  and  causing  his  hands  to  be 
tied  behind  him  like  a  criminal,  went  and  kneeled  at  the  door 
of  the  emperor's  tent  to  show  that  he  threw  himself  at  his 
majesty's  mercy,  and  acknowledged  himself  worthy  of  death. 
The  emperor  was  contented  with  sending  him  a  reprimand." 
One  day  seems  to  have  differed  but  little  from  another,  and 
by  the  22nd  October  the  party  were  back  in  Peking.  The 
landscape  on  these  vases  may  represent  Ulatay,  Ulastay,  or 
other  favourite  resort  of  the  deer,  and  may  have  been  painted 
in  commemoration  of  some  celebrated  day's  hunting. 

Father  Eipa  gives  the  following  account  of  the  stag  call : 
"  The  emperor  took  part  in  another  species  of  sport  unknown 
in  Europe  and  less  fatiguing.  He  set  out  by  night  with  all 
the  great  company  above  mentioned,  and  when  within  two 
miles  of  the  spot  selected  for  sport  he  left  the  army,  and 
ascended  to  the  top  of  a  hill  with  six  or  seven  hunters  clothed 
in  stag-skins  from  head  to  foot.  Here  one  of  the  hunters  put 
on  a  kind  of  mask  resembling  a  stag's  head  with  horns,  and 
concealed  himself  anions:  the  bushes  in  such  a  manner  that  at 
first  sight  he  might  be  taken  for  a  stag,  while  the  Emperor 
and  others  crouched  down  close  by,  all  being  armed  with  good 
guns,  to  the  ends  of  which  were  fixed  small  pieces  of  stag's 
horn.  The  stags  are  followed  by  several  does,  which  they  will 
not  allow  any  other  stag  to  approach.  Early  in  the  morning 
they  instinctively  raise  a  cry  of  challenge ;  the  other  stags 
arrive  and  a  fight  ensues,  which  continues  till  one  is  slain, 
when  the  victor  takes  possession  of  his  rival's  herd  of  does. 
One  of  the  hunters  now  blows  an  instrument,  which  both  in 
shape  and  sound  very  much  resembles  those  with  which  our 
herdsmen  call  the  swine,  and  which  closely  imitates  the  belling 
of  the  stag.  At  this  sound  the  stags  hasten  to  the  hill,  and 
seeking  their  supposed  rival  they  come  within  gunshot,  and 
meet  with  their  death.  The  Emperor  had  the  first  shot,  and 
if  he  missed  the  stag  was  quickly  killed  by  the  huntsman. 
It  happened  one  day  that  at  the  sound  of  the  horn  not  one 
stag  only  but  two  appeared  at  the  same  time  within  shot  and 


731. 


732.     [To  face  p.  425. 


MILLE   CERF.  4^5 

began  to  fight.  One  of  them  was  soon  hit  by  the  Emperor, 
and  the  other,  instead  of  running  away,  strove  to  finish  his 
dying  rival,  thus  giving  his  Majesty  the  opportunity  of  killing 
him  also  with  the  second  shot.  The  sport  lasts  only  about  two 
hours,  as  later  in  the  day  it  would  have  no  effect,  and  every 
mornimr  from  five  to  ten  sta^s  were  thus  killed.  This  was  a 
sport  in  which  the  Emperor  Kang-hy  indulged  every  year 
in  the  months  of  September  and  October"  (p.  83).  "The 
emperor  could  not  remain  long  in  the  same  place,  and  thus 
after  a  few  days  he  left  Chan-choon-yuen  for  Pa-choo,  another 
mansion  of  enormous  dimensions,  with  a  park  so  abounding 
with  stags  that  they  appear  like  flocks  of  sheep."  From  this 
it  seems  clear  that  the  stags  on  this  vase  are  not  exaggerated 
in  number,  but  that  we  may  have  truly  represented  one  of  the 
imperial  parks  with  its  herd  of  deer.  In  the  list  of  designs 
given  by  Dr.  Bushell,  taken  from  the  Chiang  hsi  Ta  chih  for 
the  eighth  year  of  Chia  ching  (a.d.  1529),  we  find  mentioned 
"oval  vases  with  propitious  clouds,  a  hundred  dragons,  a 
hundred  storks,  a  hundred  deer,  in  enamel  colours,  and  the 
inscription  '  Ever-preserving  heaven  and  earth '  '  (p.  113). 

Blue  and  White  with  Copper-red. 

Nos.  731,  732.  A  pair  of  conical-shaped  vases.  Height, 
20^  inches.  No  mark.  Decorated  in  blue  and  white,  with 
pink  from  copper  under  the  glaze ;  exceptionally  nice  pieces 
and  excellent  examples  of  Chinese  freehand  drawing.  In  No. 
731  we  have  a  cock  standing  on  a  rock  seemingly  ready  to 
do  battle,  while  paeonies  grow  on  one  side  and  a  magnolia  tree 
on  the  other.  In  No.  732  the  decoration  consists  of  two  storks 
standing  among  lotus,  while  there  is  a  willow  tree  on  the 
other  side.  These  vases  have  not  the  engraved  band  near  the 
base,  but  the  figures  of  the  storks  are  traced  in  the  paste,  and 
they  may  date  from  close  on  the  Yung  ching  period.  There  is 
little  peach  bloom  in  the  decoration,  but  the  pink  shade  is  very 
freely  employed  in  the  rocks,  flowers,  and  plumage  of  the  cock. 

Painting  on  porcelain  must  have  presented  many  difficulties 
to  the  Chinese  who,  accustomed  to  freehand  drawing,  no  doubt 
found  the  application  of  enamels  a  very  cramped  and  laborious 
process,  and  it  is  therefore  in  pieces  decorated  under  the  glaze 
where  the  pigments  used  were  more  like  water-colours  that  we 
often  find  them  at  their  best, 


4-26  KEEN-LUNG. 

Chinese  Deawing. 

In  judging  of  Chinese  painting  it  is  well  to  remember  that 
they  never  use  oil,  while  what  they  most  admire  is  great 
freedom  in  drawing.  In  China  painting  cannot  be  said  to  be 
a  profession  any  more  than  writing  is  in  Europe.  Every  one 
here  is  supposed  to  be  able  to  write,  so  there  every  lady  and 
gentleman  is  expected  to  be  proficient  in  the  art  of  writing, 
drawing,  and  verse-making;  the  decoration  of  fans,  scrolls, 
etc.,  by  these  means  being  an  accomplishment  that  all  of  good 
j:>osition  ought  to  possess.  Of  course  some  are  more  celebrated 
for  their  drawings  than  others,  and  the  designs  we  find  on 
porcelain  were  at  times  supplied  by  the  skilled  courtiers  at 
Peking,  poems  from  the  pens  of  more  than  one  emperor  being 
also  to  be  met  with  now  and  again. 

Writing  and  drawing  go  hand  in  hand,  the  artist  in  China 
occnpying  much  the  same  position  that  the  writing-master 
does  here.  What  every  one  can  do,  with  more  or  less  skill, 
no  one  will  pay  long  prices  for,  and  scrolls  by  the  best  artists 
of  to-day  can  be  purchased  for  a  few  shillings. 

There  is  an  interesting  article  on  this  subject  by  Dr. 
Edkins,  in  the  Shanghai  Mercury  of  August  24,  1900.  He 
points  out  that  the  art  of  writing  and  painting  were  called 
into  existence  by  the  invention  of  the  fine-pointed  hair  pencil, 
and  have  been  contemporary  for  fifteen  or  sixteen  centuries. 
The  caligraphist  is  a  painter  who  uses  black  and  red,  while 
the  artist  employs  a  greater  variety  of  colours.  "  In  the 
second  century  after  Christ  paper  came  from  Alexandria  to 
China,  and  the  ingenious  natives  at  once  proceeded  to  make 
it  for  themselves."  Before  that  bamboo  tablets  and  silk  had 
been  used,  the  latter  of  course  being  still  largely  employed. 
"About  A.D.  220  a  general  called  Mengkwa  improved  upon 
the  pencil  by  using  fine  hairs  from  the  skin  of  the  hare,  but 
perfection  was  only  attained  in  the  fourth  century  after  Christ," 
when  caligraphy  and  drawing  both  improved  greatly  with  the 
use  of  the  better  implement,  while,  "  by  resting  the  hand  when 
drawing  on  the  wrist  only  and  not  on  the  little  finger,  great 
freedom  is  secured  both  in  ordinary  writing  and  painting." 
About  this  time  "artists  began  to  acquire  fame  for  special 
departments  in  painting.     In  the  Sung  dynasty  there  was  a 


ITS 

CO 


" 


•  ■ 


CO 


CO 

CO 


CELADON.  427 

northern  and  southern  school  of  Chinese  art."  ..."  Paintings 
of  fifteen  hundred  years  ago  are  still  copied,  though  the 
originals  have  long  since  perished.  Such  artistic  power  as 
modern  painters  possess  is  exhibited  in  these  copies  of  old 
works  of  art,  but  in  the  illustration  of  modern  novels  they 
have  a  wide  field,  and  so  good  is  the  work  that  it  may  be 
firmly  held  that  the  painters  in  China  still  hold  their  own 
high  place,  and  especially  in  this  province  of  Kiangsu."  An 
account  of  the  two  schools  of  China  will  be  found  in  Mr. 
Anderson's  book,  p.  489. 

Celadons  and  Biscuit  Celadons. 

Nos.  733,  734,  735  represent  three  bottles  belonging 
to  Mr.  Winthrop,  of  which  he  kindly  sends  the  following 
description : — 

Decorated  with  Coloured  Enamels. 

No.  733.  "  Pear-shaped  bottle  with  slender  neck,  of  a  cold 
white  paste  resembling  polished  white  marble,  covered  with  a 
decoration  executed  in  coloured  enamels,  everywhere  outlined 
with  black.  The  rinceaux  (meanders)  are  red,  green,  yellow, 
and  carmine,  the  flowers  varying  on  each  face.  The  band  at 
the  lip  is  formed  by  simply  filling  in  a  ground  of  thick  blue 
enamel,  with  a  yellow  border  at  the  extreme  top.  White 
porcelain  glaze  foot,  with  square  Kien-lung  mark  pencilled  in 
red  upon  the  glaze." 

Celadon. 

No.  734.  "  Pear-shaped  bottle  with  slender  neck,  presented 
to  the  present  owner  by  ' Chinese  Gordon'  (Gordon  of 
Khartoum).  It  has  a  royal  blue  ground  with  no  decoration 
whatever.  This  ground  is  a  i  celadon,'  i.e.  the  colour  mixed 
with  the  glaze.  The  foot  shows  a  pure  white  porcelain,  and 
the  square  Kien-lung  mark  traced  (pencilled)  in  dark  blue 
under  the  glaze." 

No.  735.  "  A  globular  bottle  of  fine  turquoise  '  truite ' 
ground  with  splashes  of  violet.  The  foot  has  been  smeared 
with  a  sort  of  brownish  glaze  with  innumerable  burst  air- 
bubbles.  No  mark.  This  is  a  very  brilliant  piece  both  for 
glaze  and  colour," 


428  KEEN-LUNG. 

No.  736.  A  pear-shaped,  fluted  bottle,  with  two  small 
cylinders  on  the  neck.  Height,  17  inches.  Mark,  Keen-lung 
seal.  This  piece  is  covered  with  a  pearl-grey  celadon  glaze, 
highly  vitreous,  as  can  be  seen  by  the  photograph.  The 
shoulder  of  the  bottle,  having  evidently  been  one  blaze  of 
light,  has  come  out  lighter  in  colour  than  the  base  and  neck, 
on  which  the  light  did  not  fall  in  the  same  way.  These 
marked  pieces  are  of  great  use  when  the  marking  can  be  relied 
upon,  as  they  give  us  some  idea  as  to  the  shapes,  style  of 
workmanship,  and  colouring  in  vogue  at  the  period  stated. 
This  piece  is  in  the  Salting  collection. 

Coral  with  Blue  wider  the  Glaze. 

No.  737.  Bottle.  Height,  21  inches.  Mark,  Keen-lung. 
Here  we  have  five  (five-claw)  dragons  in  blue  under  the  glaze, 
disporting  themselves  in  waves  of  coral  red,  painted  on  the 
white  porcelain,  while  the  two  tiers  at  the  base  are  in  green 
enamel.  In  nearly  all  these  pieces  we  find  green  introduced 
in  limited  quantity.  This  bottle,  as  far  as  decoration  goes, 
is  on  all  fours  with  the  jar  No.  269,  and  there  would  be  no 
need  to  include  it  in  this  series  were  it  not  that  it  has  the 
advantage  of  bein^  marked  with  what  seems  a  reliable  date. 
The  jar  referred  to  is  probably  older  than  this  bottle,  and  this 
particular  style  of  decoration,  we  have  every  reason  to  believe, 
was  known  in  the  Kang-he  period ;  in  fact,  the  mark  in  the 
present  case  being  in  the  ordinary  character,  instead  of  the 
seal,  as  in  No.  740,  where  the  decoration  is  more  modern, 
the  piece  being  enamelled  all  over,  may  perhaps  betoken  that 
where  the  Chinese  copied  an  old  design,  they  put  the  mark  in 
the  character  used  in  the  Kang-he  and  preceding  reigns,  but 
when  they  followed  the  models  of  the  day,  they  used  the  seal 
character  then  in  vogue  for  marking.  Of  course,  in  the  ordinary 
way,  they  would  have  marked  this  bottle  Kang-he,  or  whatever 
period  they  considered  the  style  of  decoration  to  belong  to  ; 
but  if  this  piece  was  for  the  emperor's  household,  as  the  five 
claws  would  seem  to  indicate,  it  would,  we  may  suppose,  have 
to  bear  his  nien  hao,  and  no  other. 

At  the  top  there  is  a  border  in  blue  under  the  glaze,  a 
variation  of  the  honeycomb  diaper,  and  these  seem  to  have 


00 


CO 


CO 


00 

CO 

I- 


a, 


O 
-pi 


OS 

CO 


YELLOW  ENAMEL  WITH   BLUE.  4^9 

been  used  about  this  time,  see  Nos.  354  and  777  belonging  to 
this  period. 

Most  of  these  big  bottles  seem  to  date  from  about  this 
time. 

Blue  and  Wliite  with  Peach-hloom. 

In  No.  738  we  have  another  instance  of  a  reproduction  in 
imitation  of  the  Yung-Ching  period.  A  gourd-shaped  bottle 
(height,  17J  inches.  No  mark),  decorated  in  blue  and  red 
under  the  glaze,  the  latter  colour  being  in  one  of  those  shades 
that  it  seems  impossible  to  define,  but  in  this  instance  some- 
where between  orange  and  claret  colour.  The  decoration  con- 
sists of  four  dragons  on  the  lower  and  two  on  the  upper  bulb 
in  the  midst  of  fungus  scroll-work ;  the  red  showing  on  the 
dragons  and  flower  of  the  fungus. 

Yellow  Enamel  with  Blue  under  the  Glaze. 

Nos.  739,  740,  741.  Bottle,  covered  with  lemon-coloured 
enamel.  Height,  2(H  inches.  Mark,  Keen-lung  (seal).  This 
piece  illustrates  a  style  of  decoration  that  was  not  uncommon 
about  this  period.  A  certain  amount  of  the  design,  as  was 
often  the  case  in  earlier  times,  seems  to  have  been  applied  in 
blue  under  the  glaze,  and  after  the  first  firing  the  piece  was 
again  taken  in  hand,  and  the  decoration  completed  chiefly 
in  green  enamel  with  thin,  dull-coloured  reds,  the  remaining 
uncovered  porcelain  being  then  coated  with  yellow  enamel. 
The  green,  in  places  being  over  the  blue,  has  a  bluish  shade, 
and  the  whole  has  a  soft,  subdued,  pleasing  effect.  On  one 
side,  as  seen  in  No.  739,  a  mulberry-tree  in  blue  under  the 
glaze  runs  right  up  the  bottle  ;  on  a  bend  of  the  trunk  stands 
a  phoenix,  with  a  second  at  the  back,  each  holding  a  fungus  in 
its  mouth,  the  whole  combination  picturing  long  life  with  peace 
and  plenty ;  while,  on  the  other  side  (No.  741),  is  a  fir-tree, 
chiefly  in  green,  with  two  of  the  same  birds,  holding  in  their 
mouths  a  peacock's  feather,  thus  symbolizing  long  life  and 
rank.  Between  these  two  trees  the  second  place  of  honour  is 
occupied  by  two  storks  (No.  740),  emblems  of  long  life ;  while 
on  the  branches  of  the  trees  perch  rows  of  parrots  and  other 
birds,  each  of  which,  to  the  Chinese  mind,  conveys  some  hidden 
meaning. 


430  KEEN-LUNG. 


The  Twin  Sistees. 


Sir  John  Davis,  in  "  Chinese  Novels,"  published  in  1822, 
gives  this  tale,  which,  perhaps,  forms  the  motive  on  the  beaker 
(No.  332),  and  may  be  of  interest  to  those  readers  who  possess 
the  first  volume  of  this  work.  Briefly  told,  the  story  runs  as 
follows :  "  Early  in  the  reign  of  an  emperor,  of  the  Ming 
dynasty,  there  dwelt,  in  a  city  of  the  province  of  Hoo-kwang, 
a  merchant  named  Siaou-kiang,  who  had  the  misfortune  to  live 
on  very  indifferent  terms  with  his  wife.  ...  As  the  father  and 
mother  were  extremely  plain  and  very  stupid,  so,  on  the  con- 
trary, their  two  daughters  were  very  handsome  and  particularly 
clever.  After  ten  years  of  age  they  began  to  resemble  fair 
flowers  glittering  in  the  dew,  or  fragrant  herbs  agitated  by  the 
breeze ;  and  their  beauty  every  clay  increased,  until,  having 
reached  the  age  of  fourteen  or  fifteen,  no  one  could  behold 
them  without  emotion.  Instead  of  seeing  that  such  charming 
girls  could  command  as  husbands  young  men  of  rank  superior 
to  their  own,  the  stupid  father  and  mother  wrangled  over  the 
selection  of  sons-in-law  of  a  most  undesirable  nature.  Finally, 
unknown  to  each  other,  the  father  came  to  terms  with  two  of 
these  youths  and  the  mother  with  another  two.  So  that  in  the 
long  run  four  other  families  became  involved  in  the  quarrel, 
which  had  to  be  submitted  to  the  chief  magistrate  for  settle- 
ment. This  dignitary  summoned  all  the  parties  concerned  to 
appear  before  him,  and  was  greatly  surprised  to  find  that  such 
plain-looking  parents  could  have  such  beautiful  daughters,  and 
came  to  the  conclusion  that  *  to  choose  them  husbands  from 
among  these  four  would  be  like  searching  for  a  hero  among 
dwarfs.  How  can  I  possibly  select  one  !  I  did  not  think  that  so 
much  beauty  and  such  ill-fortune  could  be  combined.'  The  law, 
however,  had  to  be  complied  with ;  so  he  ordered  the  father's 
favourites  to  kneel  on  the  left  side,  the  mother's  on  the  right, 
and  the  two  girls  in  the  front.  Addressing  the  latter,  he  told 
them  to  show  their  preference  by  turning  themselves  to  the 
left  or  right ;  '  but  remember  that  in  this  slight  movement  is 
involved  the  welfare  of  your  whole  life,  and  your  choice  should 
therefore  be  a  good  one.'  Shocked  at  the  uncouth  appearance 
of  the  four  suitors,  the  girls  closed  their  eyes  and  cried,  turning 
neither  to  the  left  or  the  right ;  so,  after  a  time,  the  judge  said 


THE   TWIN    SISTERS.  431 

6  it  would  seem  from  this  that  the  persons  chosen  by  both  your 
parents  are  exceptionable.  You  need  not  think  of  marrying 
any  of  them  ;  I  will  provide  for  you  myself.  There  is  no  good 
reason  why  two  such  persons  should  be  given  as  wives  to  booby 
clowns.'  He  then  decided  that  as  the  periodical  examination 
for  literary  degrees  was  not  far  distant,  competitors  should 
state  outside  their  essays  whether  they  were  married  or  single, 
and  that  the  prize  for  the  former  would  be  a  brace  of  curious 
deer,  and  for  the  latter  two  beautiful  damsels.  '  Those  who 
won  the  prizes  would  be  the  first  literary  candidates  of  the 
year.' 

"  On  a  certain  day  after  the  examination,  the  judge  ordered 
the  deer  to  be  placed  on  one  side  of  the  hall  and  the  two 
ladies,  seated  in  ornamental  sedans,  such  as  are  used  at 
weddings,  on  the  other,  the  flowered  lanterns  and  the  music 
being  in  readiness  to  proceed  to  the  marriage.  When  the 
drum  had  been  struck  three  times  the  judge  came  into  the 
hall  and  said,  *  Which  are  the  four  successful  candidates  ? 
I  request  them  to  stand  aside  that  I  may  address  them.' 
AY  hen  the  officer  heard  this  he  read  aloud  the  list  of  successful 
candidates,  the  names  of  the  two  unmarried  ones  being  Sze- 
tsin  and  Chy-yuen ;  but  only  the  former  stood  up,  and  on  being 
questioned  by  the  judge  acknowledged  that  he  had  written 
both  essays,  never  thinking  more  than  one  would  be  chosen, 
and  hoping  if  such  was  the  case  that  it  might  be  that  in  the 
name  of  his  friend  Chy-yuen,  whom  he  wished  to  do  a  service 
to,  but  who  unfortunately  was  not  present,  not  knowing  this 
was  the  day.  That,  as  for  himself,  he  could  not  marry,  as  all 
the  fortune-tellers  whom  he  had  consulted  had  said  he  was 
never  to  be  paired,  and  that,  although  of  the  literary  order,  he 
intended  to  become  a  priest.  The  judge  replied  that  there  was 
little  faith  to  be  put  in  such  predictions,  and  that  it  was 
fortunate  that  lie  had  discovered  the  truth,  or  a  great  injustice 
would  have  been  done  to  one  of  the  ladies.  *  As  the  matter 
now  stands,  both  the  first  and  second  place  are  yours,  and  each 
of  the  ladies  belong  to  you.  Any  one  may  make  pretensions 
to  riches  and  honours,  but  such  beauty  as  they  possess  is  not 
to  be  found  everywhere,  and  none  should  obtain  but  such  as 
deserve  them  ;  certainly  not  a  false  pretender.' 

"  Sze-tsin  still  objected  that  it  was  not  right  to  link  the 

VOL,  II.  M. 


432  KEEN-LUNG. 

fate  of  the  two  ladies  with  one  so  unlucky,  who  had  been  told 
that  it  was  his  destiny  never  to  be  paired.  The  judge  laughed 
at  this,  and  said  he  need  not  fear,  there  was  no  pairing,  as 
there  would  be  three  of  them,  and  that  what  was  happening 
that  day  was  in  exact  conformity  with  what  had  been  foretold 
him.  Sze-tsin  had  therefore  no  alternative,  and  standing  up 
before  the  judge  with  the  two  ladies  they  all  bowed  down  four 
times  before  their  benefactor,  and  Sze-tsin,  mounting  his  horse, 
accompanied  the  two  ornamental  sedans  home. 

"  In  consequence  of  this  decision  the  name  of  the  judge 
became  celebrated,  and  the  emperor,  calling  him  to  Peking, 
gave  him  a  situation  in  the  Military  Tribunal,  while  Sze-tsin 
was  advanced  to  a  place  in  the  Literary  College,  and  continued 
to  live  with  his  friend,  the  judge,  on  terms  of  father  and  son. 

"  The  ancient  saying  is  very  true,  that  none  but  the  worthy 
can  discern  the  worthy." 

There  are  several  similar  tales  in  which  a  scholar  marries 
two  ladies,  any  of  which  might  almost  equally  well  be  the 
motive  of  No.  332. 

Famille  Hose. 

No.  742.  Eose  plate.  Diameter,  21J  inches ;  height, 
'.  !  |  inches.  No  mark — gilt  edge.  This  may  be  described  as 
a  greatly  enlarged  dessert  plate,  of  fine  colouring  and  work- 
manship. The  octagon  and  square  diaper  border  just  beyond 
the  edge  is  in  that  blue-green  enamel  so  usual  at  this  period, 
and  is  exactly  the  same  as  we  find  on  the  eggshell  plates. 
This  is  followed  by  scroll-work  outlined  in  black  and  filled  in 
with  brown  curl  work,  relieved  by  pink  lotus  and  other  many- 
coloured  flowers,  while  between  the  joo-e  head-shaped  ornaments 
are  large  sprays  of  pink  paBonies,  lotus  flowers,  and  chrysanthe- 
mums. In  the  centre  is  the  brown  trunk  of  a  peach  tree, 
relieved  with  gilt ;  on  this  is  perched  a  blackbird.  The  rocks 
are  in  blue  enamel,  shaded  with  pink  (as  noticed  in  No.  710), 
the  beginning  of  the  rainbow  tints  we  find  so  generally 
used  a  little  later.  Pink  and  yellow  preonies  complete  the 
decoration. 

"The  Chinese  starling  or  blackbird,  which  in  China  is 
called  '  pako  '  (eight — because  it  is  said  always  to  be  seen  in 
bands  of  eight  individuals) ;  it  occurs  in  all  the  towns  beyond 


r^x  ; 


[To  face  p.  432. 


743. 


744. 


[To  face  p.  433. 


EGGSHELL.  433 

the  mountains.  The  extreme  point  where  I  have  met  it  is  in  the 
valley  of  Han-tchong,  in  Chensi,  and  all  the  birds  of  this  kind 
which  are  seen  in  cages  in  captivity  at  Peking  and  elsewhere 
certainly  come  from  the  southern  districts. 

"  These  starlings  are  much  appreciated  by  the  Chinese, 
because  of  the  ease  with  which  they  learn  to  speak,  as  also  for 
the  variety  and  tunefulness  of  their  natural  song.  In  their 
wild  state  they  live  near  habitations,  and  make  their  nests  in 
holes  of  trees.  Their  food  consists  of  grain  and  insects,  and 
one  may  even  see  them  sitting  on  the  backs  of  cattle  picking 
out  the  parasites.  The  pakos  must  then  range  as  a  useful  bird 
and  a  friend  of  man,  and  can  become  acclimatized  in  Europe ' 
("  Des  Qissaux  de  la  Chine,"  by  M.  David,  p.  3(35). 

Whole-coloured  Bose. 

No.  743.  Semi-eggshell  plate.  Diameter,  7  J  inches ; 
height,  1  inch.  No  mark.  The  rim  and  part  of  the  side  are 
covered  with  a  shining  purple  glaze,  relieved  by  eight  white 
lotus  flowers  and  eight  blue  flowers.  In  the  centre  a  lady  sits, 
with  pink  fan  in  her  hand,  while  two  boys  say  their  lesson  to 
her,  all  in  green,  blue,  and  pink  enamels.  The  lady  has  a  skirt 
of  white  enamel,  green  dress,  and  blue  sash. 

No.  744.  Plate.  Diameter,  8f  inches;  height,  1J  inch. 
No  mark.  The  surface  is  covered  with  a  ruby  enamel,  same  as 
on  the  backs  of  the  eggshell  plates.  At  the  edge  there  is  a 
gilt  band.  Two  white  scrolls,  one  wide  and  one  narrow,  which 
cross  each  other,  the  turnover,  or  back  of  the  former  being 
green  with  square  and  octagon  work,  that  of  the  latter  blue 
with  trellis-work  diaper.  On  the  wide  scroll  the  decoration 
consists  of  a  cock,  with  paeonies  in  pink,  yellow,  and  white 
enamels,  the  foliage  being  in  dark  and  light  green.  The 
reader  will  notice  the  dragon-fly  at  the  top.  On  the  narrow 
scroll,  flowers,  and  bird  with  a  long  beak.  The  surface  is 
further  broken  by  two  chrysanthemums  in  white  enamel,  with 
light  green  shading. 

Eggshell 

Plates  appear  to  have  been  produced  during  the  Yung-ching 
period  (see  Nos.  362,  3G3),  and  ran  through  the  whole  of  the 
present   reign.     As   it   seems  impossible  to  allot  the  various 


434  KEEN-LUNG. 

specimens  to  any  particular  date,  the  illustrations  are  here 
placed  together  in  the  order  they  may  be  supposed  to  come, 
and  with  those  given  in  vol.  i.  will  afford  the  reader  a  fair 
idea  of  the  patterns  to  be  met  with  in  this  charming  class. 

No.  745.  A  ruby-backed  eggshell  dish.  Diameter,  7| 
inches ;  height,  If  inch.  No  mark.  Here  the  drawing  is 
good,  and  the  colouring  in  delicate  tints.  The  decoration  is 
marked  off  by  black  lines,  the  border  being  in  pink.  The 
gentleman  is  dressed  in  light  blue,  while  the  settee  is  in 
purple  brown.  The  lady  at  the  back  is  in  yellow,  the  one 
at  the  end  of  the  settee  in  pink.  The  vases  are  in  blue  and 
green,  the  stand  or  seat  at  back  in  black,  and  the  tall  stand 
bamboo. 

"  At  one  time  a  nobleman  left  his  home  and  determined 
to  become  a  Taoist  priest ;  his  wife  and  children  are  shown 
remonstrating  with  him." 

No.  746.  This  rose- backed  dish  (diameter,  7f  inches ; 
height,  lh  inch — no  mark)  is  one  of  the  salmon-coloured 
class,  the  various  pinks  with  which  it  is  decorated  being  all 
more  or  less  of  that  hue.  The  decoration  is  marked  off  with 
black  lines,  the  outer  border  at  the  edge  being  in  a  pinkish, 
blueish  grey :  inside  this  there  are  eight  scallops  forming  a 
second  border,  most  delicately  painted  in  a  rich  pink.  The 
stand  at  the  back  is  bamboo  with  a  pink  top,  the  darker  vases 
and  jars,  as  seen  in  the  illustration,  being  in  green  or  blue ; 
but  with  the  exception  of  the  streamers  to  the  lady's  dress, 
the  rest  of  the  colouring  is  in  salmon  pinks,  and  the  whole 
has  a  warm  and  pleasing  effect. 

"  Depicts  a  famous  woman,  named  Cho  Tai  Ka,  teaching 
her  children." 

No.  747.  Eggshell  plate.  Diameter,  8  J-  inches ;  height, 
\\  inch.     This  is  one  of  the  rose-backed  seven-bordered  plates. 

1.  At  edge,  gilt  lotus  scroll  band. 

2.  Wide  mauve  pink  band,  covered  with  octagon  and  square 

diaper- work.  The  four  reserves  are  marked  off  at 
the  sides  by  blue  enamel  bands  and  filled  with  coloured 
flowers.  Between  the  reserves  are  four  dragons  in 
white  enamel  curled  into  circles. 

3.  Foliated  band  of  blue  "  Y  "  work. 

4.  Salmon-coloured  band  with  scroll-work  in  red. 


745. 


74G. 


[To  face  p.  434. 


747. 


748. 


[To  face  p.  435. 


EGGSHELL.  435 

5.  Deep-coloured   rose   band  with  conventionalized  scroll- 

work in  a  lighter  shade  of  pink.     The  four  reserves 
are  in  blue  enamel  ornamented  with  light  blue  scrolls. 

6.  Green  trellis-work  band  with  gilt  ring  on  either  side. 

7.  Gilt   ground   covered  with  coloured  flowers,  and  green 

foliage  marking  off  the  leaf-shaped  medallion  in  the 

centre. 
In   the   middle  the  decoration  consists  of  the  usual  lady 
and  children,  table  with  books  and  other  symbols,  while  on 
the  ground  stand  various  vases. 

No.  748.  Eggshell  plate.  Diameter,  8|  inches ;  height, 
1J  inch.  This  is  what  may  be  called  a  four-border  plate,  and 
the  decoration  not  being  so  tightly  packed  as  in  No.  747,  it 
can  be  seen  that  the  marking  off  is  done  in  sepia.  To  begin 
at  the  edge  there  is — 

1.  A   light   green  band  covered  with  trellis-work  in  blue 

and  red. 

2.  Wide  border  with  conventionalized  flowers  and  foliage 

in  gilt. 

3.  Pink  band  covering  the  sides  with  octagon  and  square 

diaper-work,  broken  by  four  ornaments  in  same  colours. 

4.  Blue  "  Y ' '  work,  marking  off  the  leaf-shaped  enclosure, 

on  which  are  thrown  grapes  and  vine  leaves  in  gilt. 

The  central  decoration  consists  of  a  lady  with  two  children, 
one  of  which  is  handing  a  peach.  At  back  there  is  a  rockery 
in  cream-coloured  enamel. 

The  tracing  of  the  diaper  patterns  on  the  pink,  as  on  most 
of  the  other  enamels  in  all  these  plates,  seems  generally  to  be 
in  blue  and  red. 

In  the  catalogue  of  Ming  china  before  referred  to  we  find 
No.  55,  "  Tazza-shaped  cup,  Ch'eng  era,  1465-1487  porcelain, 
painted  in  enamel  colours  on  a  pure  white  ground ;  a  vine 
with  leaves  and  tendrils  of  bright  green,  and  grapes  of  deep 
amethyst  colour,  drawn  with  the  utmost  delicacy."  So  that  the 
vine  was  an  old  motive,  although  seemingly  not  much  employed 
during  the  Kang-he  period ;  but  we  often  meet  with  it  from 
this  time  onwards. 

No.  749.  A  ruby-backed  eggshell  dish.  Diameter,  Cl- 
inches ;  height,  1J  inch.  No  mark.  In  this  instance,  there 
is   no   diaper-work,   the   decoration   consisting   of  two   cocks 


43^  KEEN-LUNG. 

standing  on  a  green  sloping  ground,  with  two  paeonies  above, 
one  in  rose,  the  other  in  a  purple  pink ;  the  rocks  in  front 
are  in  blue,  with  foliage  in  dull  purple  and  a  green  spray. 
The  cock  to  the  front  is  in  the  usual  cochin  china  plumage, 
the  other  in  a  purple  grey. 

No.  750.  Ruby -backed  eggshell  plate.  Diameter,  8  J 
inches ;  height,  If  inch.  No  mark.  This  is  a  very  richly 
decorated  plate.  To  begin  at  the  rim,  there  is  a  green 
band  with  black  trellis-work  followed  by  a  gilt  scroll  band. 
Then  comes  the  octagon  and  square  diaper  in  black  and 
red  on  a  pink  ground  broken  by  four  white- shaped  reserves, 
one  being  in  the  form  of  a  finger  citron,  another  in  the  form 
of  a  leaf,  and  these  are  finished  off  by  flowers  at  the  ends  in 
rose  and  other  colours.  In  the  citron-shaped  reserve  the  reader 
will  notice  the  horned  wedding  goblet  which,  like  most  of  the 
other  symbols,  is  in  gilt.  Below  there  is  a  Avaved  trellis-work 
band  in  blue,  followed  by  "  Y  "  work  in  black  on  gilt.  In  the 
centre,  on  a  blue  rock,  are  two  pheasants  among  a  profusion  of 
paeonies  and  other  flowers,  with  a  primus  spray  and  butterfly 
above.  Knowing  this  and  a  seven -bordered  plate,  same  pattern 
as  No.  372,  had  all  along  been  in  the  same  family,  the  writer 
asked  the  lady  to  whom  they  belong  to  kindly  try  and  find 
out  something  about  their  age,  and,  after  a  little  time,  the 
following  note  was  received :  "  I  have  looked  the  history  of 
the  plates  up,  and  I  find  my  great  grandmother,  Mrs.  Prideaux, 
wife  of  Humphery  Prideaux,  of  Prideaux  Place,  Padstow,  came 
to  Bath  on  the  death  of  her  husband  in  1793,  and  brought  the 
plates  with  her.  How  long  she  had  them  at  Prideaux  Place 
I  can't  say.  This  is  all  I  can  do  for  you ;  108  years  old 
—not  me,  the  plates.  Yours  very  truly,  Mary  Prideaux 
Bythesea." 

This  date  brings  the  plates  well  into  the  Keen-lung  period, 
and  we  shall  probably  not  be  far  wrong  in  putting  them  down 
as  belonging  to  the  time  between  1750-1760. 

No.  751.  Ruby-back  eggshell  plate.  Diameter,  8|  inches  ; 
height,  If  inch.  No  mark.  This  might  be  called  a  five- 
border  plate.     To  begin  with,  there  is  a 

1.  Blue  band  at  the  edge,  followed  by 

2.  Pink  diaper  band. 

3.  Narrow  gilt  band  between  two  black  rings,  then  wide 


749. 


750. 


[To  face  p.  436. 


751. 


752. 


[To  face  p.  436. 


753. 


754. 


[To  face  p.  437. 


EGGSHELL.  437 

sepia  diaper  border  broken  by  four  shaped  reserves  filled  with 
gilt  conventionalized  flowers  with  coloured  flowers  at  edges. 
Between  the  reserves  four  conventionalized  "  Mangs  "  in  blue 
enamel,  and  another  narrow  gilt  band  between  two  black  rings. 

4.  Sepia  diaper  band  with  black  ring. 

5.  Waved  black  band  with  blue  "  Mang  "  and  black  tassel 
at  top,  and  beautifully  painted  flowers  in  coloured  enamels 
twisting  round  the  band. 

The  central  decoration  consists  of  a  lady  seated  at  a  table 
with  boy  running  away.  The  former  is  dressed  in  various 
shades  of  pink,  the  costume  being  carefully  ornamented  with 
various  patterns  in  black  and  red. 

"  Represents  a  woman  holding  a  flower  and  playing  with 
a  child." 

No.  752.  Eggshell  plate.  Diameter,  S§  inches;  height, 
If  inch.  No  mark.  The  decoration  commences  with  a  gilt 
ring  at  the  edge,  below  which  is  a  wide  sepia  diaper  border 
with  three  shaped  reserves  filled  with  fruit  and  flowers,  and 
three  gilt  ornaments  with  green  foliage.  Below  this  there  is 
a  wide  black  ring  followed  by  a  narrow  gilt  one.  The  central 
decoration  consists  of  a  lady  with  three  children,  and  what  is 
perhaps  intended  for  a  hare.  The  figures  are  dressed  in  various 
pinks  and  other  coloured  enamels. 

"  Represents  a  famous  woman  of  the  Han  dynasty,  teaching 
her  children." 

No.  753.  Ruby-back  eggshell  plate.  Diameter,  8  J-  inches ; 
height,  If  inch.  No  mark.  The  border  here  is  much  the 
same  as  in  the  preceding  plate,  but  the  pink  diaper-work  is  of 
a  rather  lighter  shade,  and  the  design  in  general  simpler. 
The  centre  decoration  consists  of  a  most  charming  landscape, 
painted  with  all  the  care  of  a  miniature,  evidently  a  view  of 
some  well-known  spot  on  or  adjacent  to  the  Grand  Canal.  The 
mountains  in  the  distance  are  indicated  in  the  faintest  manner 
possible,  and  there  is  little  to  find  fault  with  in  the  drawing 
beyond  the  size  of  the  men  engaged  in  towing  the  boat.  The 
craft  used  in  navigating  the  waters  of  the  Grand  Canal  have  a 
mast  and  sail ;  but,  as  often  as  not,  the  wind  does  not  suit  when 
the  boat  has  to  be  towed  by  the  crew,  which  generally  consists 
of  three  men,  as  shown  in  this  case.  Attaching  a  rope  to  the 
top  of  the  mast,  each  man  harnesses  himself  thereto  by  means 


438  KEEN-LUNG. 

of  short  ropes  and  a  piece  of  flat  stick,  placing  the  latter  across 
the  chest.  No  other  method  of  haulage  is  allowed,  so  as  to 
make  sure  of  a  certain  number  of  the  inhabitants  finding 
employment.  Du  Halde  says :  "  These  ropes  in  some  places 
are  made  of  hemp,  and  in  others  of  very  long  and  fine  splinters 
of  cane  twisted,  which  are  exceedingly  strong,  and  never  rot  with 
the  water."  Marco  Polo  also  describes  these  cane  ropes ;  but 
in  his  day  they  were  allowed  to  use  horses,  now  three  men  are 
supposed  to  be  equal  to  one  horse. 

No.  754.  Eggshell  plate.  Diameter,  8|  inches ;  height, 
H  inch.  No  mark.  This  is  a  very  carefully  painted  plate. 
To  begin  with,  there  is  a  black  ring  at  the  edge  followed  by 
a  gilt  ring.  Then  comes  the  pink  border  covering  the  rim,  on 
which  is  painted,  in  blue  and  red,  the  usual  octagon  and  square 
work  so  common  in  this  class ;  but,  after  this,  we  have  a  new 
feature  in  the  spiral  band,  which  seems  to  consist  of  three  gilt 
and  black  strands  twining  round  a  white  centre.  The  three 
reserves  marked  off  by  blue  and  gilt  bars  are  filled  with  fruit 
and  flowers,  while  the  three  ornaments  consist  of  a  blue  lotus 
on  a  yellow  ground.  The  decoration  in  the  middle  is  very 
charming,  and  consists  of  beautifully  coloured  flowers  dropped 
on  the  china  in  the  same  way  as  the  pieces  covered  all  over 
in  this  manner,  and  known  as  those  of  the  "  thousand  flowers." 
The  two  butterflies  are  in  various  coloured  enamels. 

No.  755.  Kuby-backed  eggshell  dish.  Diameter,  7  J  inches  ; 
height,  1J  inch.  At  the  edge,  within  two  black  rings,  there 
is  a  pink  band  with  trellis-work.  Below  this  comes  blue  "  Y  " 
diaper-work,  broken  by  six  pointed  ornaments  marked  off  by 
gilt  band  and  filled  alternately  with  pink,  green,  and  yellow, 
all  covered  with  the  usual  octagon  and  square  work.  Then 
follows  a  black  ring,  below  which  comes  a  green  border  with 
trellis-work  succeeded  by  a  gilt  ring.  Flowers  and  fruit  in 
the  centre,  seemingly  pomegranate  and  citron. 

No.  756.  Eggshell  dish.  Diameter,  8J-  inches ;  height,  \\ 
inch.  Originally  part  of  a  tea-set,  the  decoration  seems  some- 
what out  of  the  common,  consisting  of  a  landscape  almost 
entirely  painted  in  green,  relieved  only  by  a  little  blue  enamel 
here  and  there,  and  the  brown  trunks  of  the  trees,  the  pink 
and  yellow  in  the  dresses  of  the  men  being  almost  too  faint  to 
be  noticed.     The  two  bands  at  the  edge  are  in  bistre  and  sepia. 


755. 


756. 


[To  face  p.  438. 


757. 


758. 


[To  face  p.  439. 


759. 


760. 


[To  face  p.  439. 


EGGSHELL.  439 

The  "Y"  work  at  top,  it  will  be  noticed,  is  broken  into  by 
a  foliated  band,  similar  to  that  in  No.  747,  but  what  this  is 
intended  to  represent  unless  the  joo-e  head,  it  is  difficult  to 
say.  Below  is  a  band  of  sepia,  octagon,  and  square  work,  the 
four  reserves  being  filled  witli  conventionalized  foliage  in  bistre 
and  jnlt. 

The  scene  probably  represents  the  gathering  of  mulberry 
leaves. 

No.  757.  Eggshell  plate.  Diameter,  &\  inches ;  height, 
lj  inch.  No  mark.  The  decoration  is  marked  off  by  red 
lines.  On  the  rim  there  is  a  pink  diaper,  on  which  flower 
sprays  are  thrown,  the  reserves  being  filled  with  flowers.  The 
bottom  and  sides  are  covered  with  gilt  lotus  scroll-work  traced 
in  reel,  with  blue  enamel  lotus  flowers  here  and  there.  Of  the 
five  reserves,  the  centre  is  decorated  with  a  rose-coloured 
flower  having  a  green  centre  and  gilt  border.  The  other  four 
reserves  are  skirted  by  narrow  green  bands.  Two  have  a  lady 
and  boy;  in  one  the  former  is  catching  a  butterfly  with  a  net, 
and  in  the  other  the  lady  is  reading  to  the  boy.  The  remain- 
ing two  reserves  are  filled  with  a  flower,  shrub,  and  bird,  all  in 
the  usual  enamels. 

No.  758.  Eggshell  dish.  Diameter,  8J  inches ;  height,  lh 
inch.  No  mark.  The  decoration  is  here  also  marked  off  in 
red.  At  the  edge  there  is  a  pink  diaper  band  broken  by  four 
reserves  with  blue  bands  at  the  sides,  and  ornamented  with  red 
conventional  flower  scrolls.  Below  this  there  are  four  orna- 
ments in  lotus  gilt  scroll-work  traced  in  red,  between  which 
are  bunches  of  fruit  and  flowers.  The  centre  of  the  dish  is 
decorated  with  flowers  and  two  butterflies.  The  enamels 
employed  are  the  usual  pink,  red,  blue,  and  yellow,  with 
green  foliage. 

No.  759.  Eggshell  plate.  Very  thin  porcelain.  Diameter, 
Sj  inches;  height,  1]  inch.  No  mark.  The  decoration  on 
the  rim  is  unusual  in  this  class,  being  in  design  similar  to  the 
lace  borders  found  on  late  blue  and  white.  The  curl-work  is 
in  brown,  the  trellis-work  in  pink,  except  within  the  four  orna- 
ments formed  by  the  eight  black  scrolls,  where  it  is  on  the 
usual  blue-green  enamel.  The  other  scrolls  are  in  blue  enamel 
with  a  rose-coloured  lotus  flower  in  the  centre.  The  smaller 
flowers  are  in  rose  and  yellow  with    green  foliage.     On   the 

VOL.  II.  M  2 


440  KEEN-LUNG. 

sides  the  trellis-work  is  in  pink,  and  the  octagon  and  square 
diaper  in  blue-green  enamel.  The  reserves  are  filled  with  two 
rose,  one  blue,  and  one  aubergine  fish.  The  decoration  is 
marked  off  by  red  lines,  the  centre-piece  consisting  of  a  blue 
rock,  two  cocks,  one  in  Cochin  China  plumage,  that  on  the 
ground  in  rose  and  white  with  black  tail,  two  rose-coloured 
pasonies,  and  magnolia  with  white  flowers. 

No.  760.  Eggshell  dish.  Diameter,  8  inches ;  height,  1J 
inch.  No  mark.  Here  the  pink  takes  on  a  bluish  shade,  and 
is  almost  a  purple  at  some  places.  The  decoration  is  marked 
off  by  two  sepia  circles,  the  flowers  on  the  sides  being  probably 
intended  for  roses,  to  which  in  one  case  a  spray  of  primus  has 
been  added.  In  the  centre,  by  a  rustic  table,  the  legs  of  which 
are  in  a  bright  purple  aubergine,  sits  a  lady  with  a  fan  in  her 
hand,  while  a  boy  on  a  stand  gathers  "  Cassia  twigs,  symbolical 
of  becoming  a  second  degree  man.  The  Chinese  say  there  is 
a  cassia  tree,  hare,  and  beautiful  lady  in  the  moon,  hence  this 
picture."  In  the  distance  the  roofs  of  a  house  are  visible 
among  clouds.  The  fence  is  in  proper  bamboo  colouring,  with 
a  red  and  yellow  insect  above. 

The  next  two  numbers  belong  to  Mr.  Henry  Willett. 

No.  761.  Eggshell  dish.  Diameter,  8  inches ;  height,  1£ 
inch.  No  mark.  The  sides  are  covered  with  a  dark  red,  on 
which  is  placed  a  lotus  scroll  in  gilt,  the  same  being  hatched 
with  red,  no  doubt  to  give  it  the  appearance  of  being  woven 
into  the  red  ground,  thus  resembling  a  silk  brocade.  The 
reserve  in  the  middle  is  marked  off  by  a  sepia  and  gilt  ring, 
same  as  at  the  edge.  At  the  top  there  is  a  prunus  spray  in 
blue  and  white  enamel,  making  a  very  pleasing  contrast  to  the 
rest  of  the  decoration,  which  is  carefully  painted  in  subdued 
tints.  The  scenery  at  the  back  of  the  lady  is  in  sepia,  that 
to  the  reader's  left  in  very  light  washes  of  green.  The  walls 
or  framework  of  the  pavilion  are  in  sepia,  while  the  panels  are 
decorated  with  a  swastika  diaper  in  dark  red  and  gilt.  The 
lady  is  dressed  in  delicate  shades  of  red,  gilt,  and  sepia,  the 
boy  in  light  greens.  The  rock  is  in  blue  and  white  enamel, 
the  large  jar  in  red. 

This  seems  to  have  been  part  of  a  tea-set,  the  cream  jug  of 
which  is  in  the  Eranks  collection. 


£ 


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4V^HHHHHHHHHH^I 


WHOLE-COLOURED    ROSE.  441 


Mandarin. 

No.  762.  Mug.  Height,  4}  inches.  Top  and  bottom  there 
is  a  gilt  scroll  with  red  leaves  ;  where  the  handle  joins  the  side 
there  are  four  raised  lotus  leaves  coloured  red.  The  figures 
are  in  the  usual  mandarin  enamels,  the  furniture  in  iron  red. 


Whole-coloured  Bose. 
Nos.   763,   764.    A   semi-spherical   bowl.     Diameter,    13^ 


4 

inches ;  height,  6  inches.  No  mark.  Brown  edge.  The 
decoration  inside  is  very  poor,  but  of  a  character  often  to  be 
met  with  in  pieces  of  about  this  period.  Marked  off  by  three 
red  lines  there  is  a  band  of  that  blue-green  shade  so  common 
about  this  time,  on  which  in  black  is  traced  what  looks  like 
the  trellis-work  pattern,  but  it  merely  consists  of  two  lines 
crossing  each  other  at  stated  distances,  the  diamonds  thus 
formed  being  again  marked  with  a  single  cross  line.  The 
sides  are  decorated  with  three  groups  of  flowers  and  three 
butterflies,  the  flowers  being  in  iron  reds,  gilt,  with  very  little 
green,  blue,  and  yellow.  The  foliage  is  merely  traced  in  a 
brown-red,  and  has  a  stiff,  hard  look.  The  butterflies  are  in 
the  same  colours  as  the  flowers,  with  a  little  purple  added.  At 
foot  there  is  a  rose  pseony  not  at  all  in  keeping  with  the  other 
flower.  The  merit  of  this  bowl  consists  in  the  wonderful 
purple  enamel  with  which  the  outside  surface  is  covered.  It 
would  seem  impossible  to  improve  upon  this  colour,  and  it  is 
only  necessary  to  hold  a  ruby-backed  plate  alongside  of  it  to 
find  what  a  magnificent  ruby  colour  we  here  have,  and  one 
cannot  but  regret  that  it  was  not  left  perfectly  plain.  As  it 
is,  we  have  an  instance  of  how  the  Chinese  at  this  time  mixed 
various  shades  of  red  and  pink  in  a  most  perplexing  manner. 
As  seen  in  the  illustration,  the  light-coloured  ground  is  washed 
with  a  very  light  green.  The  fence  is  in  a  light  shade  of  iron 
red,  the  rocks  in  blue  and  gilt,  the  paBonies  in  pink  and  white 
enamels,  while  some  of  the  other  flowers  are  in  iron  red  and 
gilt.  On  the  other  side  of  the  bowl  there  is  a  large  flower 
spray  in  three  colours. 


442  KEEN-LUNG. 

Lotus  Rose. 

No.  765.  Lotus-sliaped  dish.  Diameter,  14£  inches ;  height, 
2\  inches.  No  mark.  This  piece  belongs  to  the  shaded  rose 
class,  one  section  of  which  consists  of  this  lotus  flower  style  of 
decoration.  We  generally  find  it  on  a  rough  porcelain,  and  often 
of  very  beautiful  colouring,  as  in  this  instance.  The  pieces  are 
as  a  rule  of  a  rounded  form,  so  as  to  give  the  idea  of  the  lotus 
flower ;  it  may  be  dishes,  or  articles  varying  from  small  boxes 
up  to  large  jardinieres.  Usually  the  ornamentation  consists 
solely  of  lotus  petals  in  rose,  with  perhaps  a  little  gilt ;  but 
here  they  form  merely  an  accessory,  and  one  is  surprised  to 
find  so  much  fine  work  on  a  rough  porcelain  of  dull  green-blue 
shade.  Probably  the  artists  had  often  to  be  content  with  what- 
ever in  the  way  of  porcelain  was  at  hand  for  them  to  go  to 
work  upon ;  but  still,  taken  in  conjunction  with  the  fact  that 
we  not  infrequently  find  white  pieces  such  as  No.  335  coated 
over  with  a  light  celadon  glaze  before  being  decorated  in 
colours,  the  question  arises,  did  the  Chinese  attach  the  im- 
portance we  do  to  the  whiteness  of  the  porcelain,  or  did  they 
prefer  the  decoration  to  be  on  a  more  neutral  ground  ?  Smooth- 
ness of  surface  may  not  always  be  of  advantage,  so  it  is  possible 
they  may  have  had  doubts  as  to  a  perfectly  white  ground  being 
invariablv  desirable.  To  return  to  No.  765,  the  reader  will 
wonder  what  the  flower  in  the  middle  can  be.  It  is  a  con- 
ventionalized fungus  painted  in  the  most  lovely  bright  shades 
of  rose  and  yellow ;  the  foliage  is  green  and  brown,  the  latter 
being  veined  with  gold,  as  is  often  the  case  in  pieces  belonging 
to  this  time.  At  the  top  there  are  two  fuchsias.  This  central 
group  is  enclosed  in  a  gilt  circle  marked  off  by  two  red  rings 
from  which  spring  nine  lotus  leaves  in  shaded  pink,  above 
these  is  the  usual  brown  curl-work  on  which  are  thrown  the 
most  beautifully  coloured  flowers  in  three  designs  repeated 
three  times,  so  filling  the  nine  spaces,  seemingly  orchid 
sprays,  lotus  with  primus  blossom,  then  perhaps  poeony  in 
pink  and  yellow,  with  part  of  a  blue  and  two  red  flowers 
showing.  Below  the  gilt  edge  there  are  at  the  back  nine 
lotus  petals,  much  the  same  as  in  front.  We  here  have  the 
so-called  mandarin  flowers  at  their  best. 

As  an  instance  of  the   lotus-shaped  and  coloured  pieces 


765. 


[To  face  p.  442. 


CO 


00 


o 


770. 


769. 


[To  face  p.  443. 


DECORATIONS    IN    BLUE   ENAMEL.         443 

referred  to  above,  we  may  take  No.  TOG.  Seemingly  a  teapot 
made  for  the  European  market,  height  6^  inches.  No  mark. 
The  body  represents  the  flower,  and  is  of  brilliant  rose  shades, 
with  the  stalk,  edge,  and  knob  of  the  lid  in  green,  while  the 
bamboo  handle  and  spout,  being  of  a  very  white  porcelain, 
show  up  in  marked  contrast  thereto. 

No.  767  represents  a  Fa3ony-shaped  drinking-cup,  with  a 
twig  spout.  Diameter,  5  by  6  inches ;  height,  1^  inch.  No 
mark.  The  cup  is  in  delicate  shades  of  rose,  while  the  stalk  is 
green,  and  seems  intended  to  be  placed  in  the  mouth. 

In  No.  768,  an  eggshell  dish  (diameter,  8|  inches ;  height, 
LV  inch — no  mark),  we  have  an  example  of  another  style  of 
this  lotus  decoration.  The  foliage  and  seed  pod  are  in  green, 
lined  with  yellow,  the  flowers  being  in  shaded  rose.  The  ducks 
have  green  backs  and  tails,  with  blue  and  gilt  wings,  while  the 
lower  parts  of  their  bodies  and  necks  are  shaded  with  rose  like 
the  flowers.  The  water  is  merely  indicated  by  the  green  and 
yellow  ripple  in  front  of  the  ducks. 

Lotus  Bose  with  Blue  and  White. 

In  No.  769,  we  have  an  example  of  how  the  Chinese  mixed 
blue  under  the  glaze  painting,  with  enamels  over  the  glaze. 
Diameter,  13|  inches;  height,  If  inch.  No  mark.  The  primus 
pattern  on  the  rim,  as  also  the  spiked  band  enclosing  the 
central  decoration,  are  in  blue  under  the  glaze,  the  ordinary 
blue  and  white,  the  four  reserves  being  filled  with  little  land- 
scapes in  green,  rose,  and  gilt.  In  the  centre  there  is  a  lotus 
flower  in  bright  rose  with  a  gilt  middle,  the  rest  of  the  ground 
being  covered  with  an  arabesque  design  in  white  enamel,  which 
is  relieved  by  eight  rose  and  four  gilt  spots. 

Decorations  in  Blue  Enamel. 

No.  770.  Plate.  Diameter,  11  inches;  height,  If  inch; 
gilt  edge.  No  mark.  At  the  back  of  the  rim  there  are  some 
twelve  indentations  all  the  way  round,  as  if  it  had  rested  on 
twelve  small  supports  before  being  baked.  This  is  a  very  nice 
plate,  good  in  all  respects,  and  uncommon  in  decoration ;  it 
belongs  to  the  armorial  class,  owing  to  the  crest  in  gilt,  red, 
and  black  on  the  rim.  As  is  often  the  case  about  this  time, 
the  rim  is  covered  with  arabesque  in  white  enamel,  to  which  in 


444  KEEN-LUNG. 

this  instance  is  added  three  coloured  sprays  of  rose,  pseony,  and 
peach.  Blue  enamel  designs  were  very  general  about  this 
time,  being  used  chiefly  to  decorate  the  sides,  as  in  No.  382 ; 
but  here  the  whole  centre  of  the  plate  is  occupied  by  such 
ornamentation  in  blue,  which  has  a  striking  effect.  This  is 
encircled  with  the  usual  fleur-de-lis  shaped  band. 

This  plate  belongs  to  Mr.  Simons. 

No.  771.  Plate.  Diameter,  17  inches ;  height,  2\  inches.  No 
mark.  This  plate  differs  from  the  usual  run  of  blue  and  white, 
the  former  colour  not  being  under  the  glaze,  but  applied  on  the 
surface  in  the  form  of  enamel.  The  flowers  are  also  painted  on 
the  surface  in  white  enamel,  shaded  or  rather  lined  with  black. 
The  key  border  at  the  edge  is  in  blue,  as  also  the  scroll-work 
and  foliage,  the  white  porcelain  showing  through  where  un- 
covered. 

Semi-Eggshell  {Blue  and  White). 

No.  772.  A  tall,  bulbous-shaped  vase  with  trumpet  mouth. 
Height,  19£  inches.  No  mark.  This  is  an  example  of  the 
large-sized  eggshell  pieces  that  were  turned  out  about  this 
time.  The  decoration,  which  is  in  blue  and  white,  consists 
entirely  of  a  five-claw  dragon  in  the  midst  of  clouds.  The  blue 
is  applied  by  means  of  stippling,  which  seems  to  have  been  the 
method  adopted  in  the  better  pieces  belonging  to  this  reign, 
no  doubt  on  account  of  the  colour  being  less  liable  to  run. 
We  have  not  come  across  this  shape  before,  and  it  seems  to 
belong  to  about  this  time.     Compare  with  No.  801. 

In  No.  773,  we  have  another  instance  of  this  semi-eggshell, 
probably  a  water-cistern.  Height,  11  inches.  No  mark.  Here 
the  decoration  is  also  in  blue  and  white,  but  the  colour  is 
applied  in  washes,  and  not  by  means  of  stippling. 

"  Soft  Faster 

No.  774.  Blue  and  white  cylindrical  eggshell  vase,  or, 
rather,  white  upon  blue,  the  decoration  consisting  of  conven- 
tionalized flower,  and  foliage  on  a  blue  ground.  Height,  18J- 
inches.  No  mark.  The  porcelain  at  the  base,  as  also  inside 
the  neck,  is  wavy  (crinkled),  the  result  no  doubt  of  moulding. 
This  is  a  very  fine  specimen  of  soft  paste,  exceedingly  light  in 
weight,  colouring  good,  shape,  finish,  and  everything  about  it 


^ 


CO 


CI 


774. 


[To  face  y.  444. 


"SOFT   PASTE."  445 

excellent.  It  will  be  noted  that  in  form  it  is  rather  plumper 
than  the  Kang-he  cylindrical  vases,  with  the  curves  at  base 
and  neck  more  rounded,  showing  a  desire  to  make  some  change 
in  the  shape  that  had  done  duty  so  long.  The  high  technique 
displayed  in  this  vase  is  worthy  of  the  Yung-ching  period,  but 
we  will  probably  be  correct  in  crediting  it  to  that  of  Keen-lung. 
It  may  be  well  to  mention  that  to  all  appearance  the  flowers 
and  foliage  were  drawn  first,  and  the  blue  ground  filled  in 
afterwards,  the  whole  evidently  being  done  with  great  skill  and 
care.  The  blue  ground  has  a  powdered,  clouded  appearance, 
the  colour  seemingly  having  been  applied  by  means  of  stip- 
pling. The  porcelain  in  this  case  is  more  transparent,  and 
has  not  the  dense  white  opaque  appearance  common  to  this 
soft-paste  class. 

Pere  d'Entrecolles,  as  quoted  by  Du  Halde,  vol.  i.  p.  340, 
says  :  "  They  have  lately  found  out  another  proper  ingredient 
in  the  composition  of  chinaware,  which  is  a  stone,  or  kind  of 
crayon,  called  Wha-she,  whereof  a  sort  of  ptisan  is  made  by  the 
Chinese  physicians,  who  reckon  it  detersive,  opening,  and  cool- 
ing. .  .  .  The  persons  concerned  in  this  manufactory  have 
thought  fit  to  use  this  stone  in  the  room  of  Kau-lin  ;  and  per- 
haps those  parts  of  Europe  that  yield  no  Kau-lin  may  furnish 
Wha-she.  It  is  called  Wha,  because  it  is  glutinous,  and  par- 
takes something  of  the  nature  of  sope  (?  soap).  The  china 
ware  that  is  made  with  it  is  scarce,  and  much  dearer  than  the 
other.  The  grain  of  it  is  exceedingly  fine,  and  as  for  painting, 
if  compared  with  ordinary  chinaware,  it  as  far  exceeds  it  as 
vellum  does  paper ;  besides,  this  chinaware  is  so  light,  that  it 
surprises  one  who  is  accustomed  to  handle  the  other  sort.  It 
is  likewise  much  more  brittle  than  the  common,  and  it  is  diffi- 
cult to  hit  upon  the  true  degree  of  baking  it.  Some  do  not 
make  use  of  Wha-she  for  the  body  of  the  work ;  contenting 
themselves  with  making  a  fine  glue  of  it,  wherein  they  dip  the 
porcelain  when  it  is  dry,  that  it  may  take  one  lay  before  it 
receives  the  colour  and  varnish,  by  which  means  it  acquires  a 
good  deal  of  beauty. 

"I  shall  now  explain  the  manner  of  working  Wha-she. 
When  they  have  taken  it  out  of  the  mine,  they  work  it  in  river 
or  rain-water,  to  separate  the  remainder  of  yellow  earth  that 
sticks  to  it.     Then  they  break  it,  and  put  it  into  a  tub  of 


446  KEEN-LUNG. 

water  to  dissolve,  preparing  it  in  the  same  manner  as  the 
Kau-lin.  It  is  affirmed  that  porcelain  may  be  made  with 
Wha-she  alone,  prepared  in  this  manner,  without  any  mixture. 
However,  one  of  my  converts,  who  had  some  of  this  kind,  told 
me,  that  to  eight  parts  of  Wha-she  he  puts  two  parts  of  pe-tun-tse 
and  Kau-lin.  In  this  new  kind  of  porcelain  the  wha-she  sup- 
plies the  place  of  the  Kau-lin;  but  one  is  much  dearer  than 
the  other,  for  a  load  of  Kau-lin  cost  but  twenty  sous,  whereas 
that  of  the  Wha-she  stands  in  a  crown  ;  so  that  no  wonder  this 
sort  of  chinaware  should  be  dearer  than  the  common. 

"I  shall  add  one  observation  more  concerning  wha-she. 
When  it  is  prepared  and  made  into  little  bricks  like  pe-tun-tse, 
they  dissolve  a  certain  quantity  of  them  in  water,  and,  making 
a  very  clear  paste  of  it,  with  a  pencil  clipped  therein,  trace 
several  fancies  upon  the  porcelain,  to  which,  after  it  is  dry, 
they  give  the  varnish.  When  it  is  baked  these  designs  appear, 
beins:  of  a  different  white  from  that  of  the  bodv  of  the  ware, 
and  not  unlike  a  thin  vapour  spread  over  the  surface.  The 
white  of  the  wha-she  is  called  '  white  of  ivory  '  (syang  ya  pe)" 

The  fine  grain,  light  weight,  liability  to  crack,  vellum-like 
appearance  of  the  painting  (particularly  in  the  blue  and  white) 
all  point  to  this  description  referring  to  what  is  known  by  us 
as  "soft  paste."  The  extra  cost  of  the  material  of  which  it 
was  made  explains  why  there  is  comparatively  so  little  of  it, 
while  the  fact  that  some  pieces  were  merely  coated  with  the 
composition,  accounts  for  all  not  being  equally  light.  Beyond 
doubt  the  light  pieces  are  "  soft  paste  "  throughout,  the  heavy 
with  the  "  vellum  "-like  appearance  are  merely  coated  therewith. 

Pere  d'Entrecolles  wrote  this  letter  in  1711,  so  that  we 
must  not  be  surprised  to  find  soft  paste  belonging  to  the  end 
of  the  Kang-he  period. 

The  soft  paste,  for  the  most  part,  is  of  a  very  white  colour 
with  an  opaque  look,  and  for  painting  under  the  glaze  seems 
to  have  had  the  advantage  that  the  colours  were  not  so  liable 
to  run  as  on  the  ordinary  description ;  it  therefore  lent  itself 
better  to  the  hatching  and  stippling  style  of  decoration,  which, 
in  the  later  reigns,  had  to  a  large  extent  superseded  the  broad 
colour  washes  of  the  Kang-he  period. 

The  various  ways  of  mixing  the  composition  of  which  soft 
paste  was  made,  no  doubt  accounts  for  the  many  descriptions 


CO 


"SOFT    TASTE."  447 

thereof  that  turn  up  nowadays ;  but  in  addition  to  these  there 
seems  to  be  a  sort  of  soft  glaze  to  be  met  with  on  other  than 
soft  paste  pieces. 

With  regard  to  the  coated  pieces,  Mr.  Winthrop  writes : 
"  Within  an  hour  I  have  had  in  my  hand  a  Japanese  bowl  of 
the  well-known  '  Hizen '  ware.  Outside  it  is  of  the  usual  smooth, 
stony,  and  slightly  porous  paste  that  we  connect  with  Hizen — 
such  as  we  saw  composing  the  large  Hizen  jars  that  stood  in 
the  halls  of  our  grandparents'  country  houses.  But  the  inside 
of  the  bowl  was  slightly  fluted  and  washed  with  such  a  soft 
'  srlue '  as  the  Pere  d'Entrecolles  refers  to.  The  outside  was 
turned  on  the  wheel,  but  the  fluted  inside  must  have  been 
shaped  by  compression,  and  its  glaze  made  it  look  like  a  piece 
of  Delft." 

No.  775.  Blue  and  white  dish  made  of  soft  paste  crackle. 
Diameter,  4A  inches ;  height,  J  inch.  No  mark.  At  the  rim 
is  the  octagon  pattern  border,  so  usual  in  such  pieces  about 
this  time,  while  the  centre  is  decorated  with  the  copy  of  some 
old  engraving  reproduced  almost  line  for  line ;  but  this  un- 
fortunately does  not  show  in  the  photograph.  The  subject 
seems  to  be  European  castaways  with  natives  on  some  tropical 
shore. 

Mr.  C,  F.  Bell  writes,  "  That  the  original  is  of  the  latter 
part  of  the  seventeenth  century  I  have  no  doubt." 

Xo.  776.  Small  blue  and  white  water-jar  for  ink-slab. 
Height,  2  inches.  Mark,  "  Tien '  (heaven).  Made  of  soft 
paste  crackle.  This  piece  is  decorated  with  two  peaches  on 
one  side  and  two  pomegranates  on  the  other.  Some  of  these 
small  pieces  of  soft  paste  are  very  fine  in  quality  and  beau- 
tifully decorated. 

No.  777.  Blue  and  white  soft  paste  bowl.  Diameter,  6 
inches ;  height,  2  J  inches.  Mark,  seal  in  two  blue  rings. 
This  piece  is  not  soft  paste  throughout,  but  is  a  specimen  of 
the  ordinary  ware  coated  with  soft  paste.  Inside,  at  the  rim, 
is  one  of  those  octagon  borders  so  frequently  to  be  met  with 
on  pieces  dating  from  about  this  period,  and  at  the  bottom, 
enclosed  in  two  blue  rings,  is  Si  Wang  Mu  travelling  through 
the  air  on  a  fung-hivang.  Outside  are  the  eight  immortals 
voyaging  on  the  waves,  and  it  is  curious  to  note  how  they  are 
borne.  Han  Chung-le  and  Han  Seang-tsze  stand  on  the  fan 
vol.  ir.  x 


44$  KEEN-LUNG. 

• 

of  the  former ;  Tsaou  Kwo-kiu  on  a  log ;  Chang  Ko-laou  rides 
on  a  frog ;  Lan  Tsae-ho  stands  on  her  basket  and  waves  her 
hoe  aloft ;  Len  Tung-pin  stands  on  his  sword,  while  Ho  Seen- 
koo  is  supported  on  a  willow  branch,  and  Le  Tee-kwae  sits  on 
his  gourd.  These  coated  pieces  are  not  so  light  in  weight  as 
those  that  are  made  entirely  of  soft  paste. 

Soft  Paste  decorated  with  Enamels  over  the  Glaze. 

No.  778.  A  plate  of  soft  paste,  almost  thin  enough  for 
eggshell.  Diameter,  8 \  inches;  height,  1J  inch.  No  mark. 
Here  the  decoration  consists  of  the  not  unusual  combination 
of  prunus  and  pseony.  The  trunk  of  the  tree  is  covered  with 
a  purple  glaze ;  some  of  the  flowers  are  merely  outlined  in  red 
and  filled  in  with  white  enamel,  while  others  are  covered  with 
pink  enamel.  The  pceony  is  in  the  usual  rose  shades,  with  its 
foliage  in  green  and  yellow  green ;  the  pheasant  above  is  in 
purple  blue  enamel  and  red.  On  the  rim  there  are  four 
paeonies  combined  with  prunus  or  magnolia. 

No.  779  is  an  instance  of  soft  paste  belonging  to  the 
mandarin  class.  A  bowl  with  edge  turned  back,  perhaps 
originally  intended  as  a  shaving-dish ;  9  j  inches  in  diameter 
and  of  inches  in  height.  No  mark.  It  is  partly  decorated 
in  blue  under  the  glaze  in  that  style  of  painting  which  has  led 
many  to  consider  it  the  result  of  transfer  printing.  The  base 
is  unglazed,  the  outside  being  decorated  with  two  large  and 
two  small  flower-sprays  in  blue.  Inside,  the  blue  and  white 
decoration  covers  the  sides ;  but  it  is  relieved  with  red  and 
gilt,  the  four  reserves  being  filled  with  sketches,  in  red  and 
sepia,  of  rocks  and  twigs  with  a  bird  in  each.  At  foot,  in  the 
usual  bright  mandarin  enamels,  is  a  river  scene,  the  sky  being 
painted  in  blue  enamel;  and  it  seems  only  in  the  mandarin 
and  India-China  classes  that  we  find  the  two  blues  used 
together.  Good  of  its  kind,  this  is  in  many  ways  an  inte- 
resting piece. 

"  This  represents  the  pleasure-boats  on  the  Western  Lake 
at  Hangchow." 

Soft  Paste,  Blue  and  White. 

In  No.  780  we  have  a  good  instance  of  the  very  white 
opaque  soft  paste,  viz.  a   blue   and  white  vase  with  globular 


cc 


CO 


o 

CO 


o 
t^ 
i^ 


FITZHUGH    PATTERN.  449 

body  and  slightly  spreading  month.  Height,  13|  inches. 
No  mark.  Here  the  paste  is  beautifully  white  and  covered 
with  a  brilliant  glaze,  below  which,  when  looked  closely  into, 
the  surface  is  seen  to  be  covered  with  a  network  of  verv  large 
crackle.  The  blue  is  very  thickly  applied,  evidently  by  means 
of  hatching  and  stippling.  On  the  neck,  as  also  at  the  base, 
there  are  diaper  bands  with  the  joo-e  head-shaped  ornaments 
which  enter  so  largely  into  compositions  from  about  this  time 
onwards.  The  main  decoration  consists  of  the  peach,  pome- 
granate, and  Buddha's- hand  citron,  in  three  sprays  extended 
so  as  to  ornament  the  whole  surface.  As  the  reader  already 
knows,  these  symbolize  the  three  abundances,  viz.  years,  sons, 
and  promotions. 

Fitzhugli  Pattern. 

No.  781.  Plate.  Diameter,  9J  inches;  height,  1J  inch. 
No  mark.  Made  of  soft  crackle  paste  and  decorated  in  blue 
under  the  glaze  with  what  in  America  is  known  as  the  Fitz- 
hugli pattern,  which  is  often  to  be  found  on  India-China  hard 
paste.  The  outer  half  of  the  rim  is  covered  with  a  light  wash 
of  blue,  on  which  a  trellis-work  diaper  is  painted  in  a  darker 
shade.  This  band  appears  also  in  the  centre,  enclosing  four 
pomegranates  split  in  half  so  as  to  show  the  fruit  inside,  and 
four-hand  of  Buddha  citrons.  The  rest  of  the  decoration  of 
this  blue  and  white  plate  consists  of  four  groups  of  flowers  and 
symbols.  On  a  European  plate  the  decoration  would  at  once 
be  pronounced  to  be  transfer  work,  but  when  looked  carefully 
into,  turns  out  to  be  the  result  of  hand-painting,  and  an 
excellent  specimen  of  Chinese  manual  labour.  Arising  from 
the  particular  appearance  of  the  decoration,  there  has  been  a 
good  deal  of  discussion  as  to  whether  these  plates  were  made 
in  the  north  or  south,  some  people  holding  that  the  latter  was 
the  case,  and  therefore  that  all  the  mandarins  with  this  style 
of  blue  and  white  were  made  in  the  neighbourhood  of  Canton. 

On  this  subject  Mr.  Winthrop  writes  as  follows:  "I  have 
been,  since  a  little  boy,  accustomed  to  the  daily  use  of  a 
certain  rather  coarse  Canton  blue  and  white  china  depicting 
the  time-honoured  '  willow  pattern.'  It  was  in  use  at  my 
maternal  grandmother's  house.  At  her  death  I  received  the 
service,  or  what  remained  of  it,  and  I  have  always  renewed 


450  KEEN-LUNG. 

it  through  a  crockery-ware  merchant  in  this  place  (Boston, 
U.S.A.),  who  has  had  consignments  of  the  same  from  Canton 
for  three-quarters  of  a  century  uninterruptedly.  For  every- 
day use  in  the  country  it  has  appeared  to  me  suitable,  and  I 
should  be  sorry  to  give  it  up.  I  get  it  always  in  Boston, 
because  I  have  never  found  it  in  London,  although  I  used  to 
inquire  for  it.  Thus  it  came  about  that  I  found  myself  yester- 
day purchasing  a  few  dozen  plates,  etc.,  of  this  kind,  and  I 
incidentally  looked  at  and  asked  some  questions  about  another 
pattern  of  blue  and  white  that  I  remembered  we  also  used  in 
my  grandmother's  house.  This  is  the  pattern  known  in  this 
country  as  'the  Fitzhugh,'  consisting  of  borders  and  disks, 
which  look  as  if  produced  by  some  process  of  transfer,  while 
the  common  willow  pattern  to  which  I  refer  is  evidently 
drawn  by  hand  in  rapid  washes  like  the  outside  of  a  ginger- 
pot.  Like  the  willow  pattern,  the  Fitzhugh  pattern  has  been 
in  use  in  many  families  in  New  England  for  a  century  or 
more,  and  has  been  constantly  reproduced.  Somewhat  to  my 
surprise  the  shopman  (an  old  man  long  in  the  house)  insisted 
that  although  the  willow  pattern  came  from  Canton,  that 
they  got  the  Fitzhugh  from  Nanking.  I  was  unable  to  see 
one  of  the  firm,  but  the  shopman  assured  me  he  knew  that  the 
Fitzhugh  came  from  the  north  of  China. 

"  The  vegetable  dishes  of  the  willow  pattern,  time  out  of 
mind,  have  had  peach  handles  like  No.  840,  and  the  Fitzhugh 
snn  or  passion-flower  like  No.  839.  Now  that  passion-flower- 
handle  is  a  characteristic  of  the  fine  old  Chinese  services  deco- 
rate with  stippled  vignettes  (see  8G9).  The  Fitzhugh  is  peculiar 
for  its  apparently  transferred  decorations,  resembling  that  of 
countless  garnitures  of  small  beakers  and  jars  (see  No.  858) 
that  may  be  seen  in  the  brokers'  shops,  with  Chinese  scenes 
in  variety,  painted  with  a  great  profusion  of  the  crimson 
enamel  derived  from  gold,  coarsely  executed,  and  the  figures 
carelessly  drawn.  This  seems  to  associate  this  whole  class 
with  Nanking.  Where  the  fine  willow  and  Fitzhuoh 
patterns  were  made  three-quarters  of  a  century  ago,  they  are 
being  made  at  the  present  day ;  and  where  the  latter  was 
made,  there  probably  were  made  the  New  Bedford  services. 
Mr.  Augustine  Heard,  who  long  resided  in  China,  asserts  that 
the  Mandarin  ware  came  from  King-te-ching,  and  that  only  the 


"TRANSFER    PRINTING."  45* 

porcelain  services  decorated  to  order  were  enamelled  at  Canton, 
such  as  the  green  ware  with  flowers,  birds,  insects,  etc.,  painted 
on  it.  He  believes  that  all  of  the  porcelain  came  from  the 
north,  except  a  rough  willow-pattern  ware,  and  the  *  sister  ' 
ginger-pots  in  bine  and  white,  which  were  made  in  the  south. 
This  ware  certainly  shows  no  quality  of  translncency. 

"  My  maternal  grandmother  was  an  American,  and,  ignorant 
of  the  origin  of  a  Worcester  service  with  the  barley-ear  pattern 
borders,  of  Flight's  or  Flight  and  Barr's  period,  she  sent  a 
specimen  to  China  early  in  the  last  century  to  replace  pieces 
that  had  been  broken.  From  Canton  there  came  back  what 
was  a  pretty  good  match,  showing  that,  in  or  near  that  city, 
there  was  porcelain  in  the  white  waiting  to  be  decorated  to 
order.     I  have  a  piece  or  two  of  each. 

"  The  name  of  '  Fitzhngh  '  I  have  never  heard  explained, 
but  have  always  regarded  it  as  a  compliment  to  the  distin- 
guished Virginian  family  of  that  name,  allied  with  the  chief 
families  of  the  United  States." 

Messrs.  Jones  McDuffee  &  Stratton  Co.,  the  firm  in  Boston 
referred  to  by  Mr.  Winthrop,  write :  "  The  willow  pattern  is 
also  produced  on  the  same  grade  of  thin  china  as  the  Fitzhngh, 
and  much  more  carefully  painted  than  in  the  so-called i  Canton 
china.'  There  is  a  great  deal  of  china  painted  (over  the  glaze) 
in  Canton  in  a  variety  of  styles.  The  Fitzhngh  pattern  itself 
is  frequently  decorated  there  in  green,  red,  and  more  or  less 
gold  tracery." 

"  Transfer  Printing." 

Before  leaving  this  plate  we  must  take  up  the  question  of 
"  transfer-printing,"  which,  in  connection  with  Chinese  porce- 
lain, is  by  no  means  an  easy  one.  Some  people  hold  that  this 
process  was  practised  by  the  Chinese,  others  that  it  was  used 
in  conjunction  with  hand-painting,  and  is  therefore  difficult  to 
tell ;  while  perhaps  those  who  should  be  best  able  to  judge, 
including  men  who  live  by  repairing  and  re-painting  china, 
maintain  that  there  is  no  such  thing  as  transfer-work  to  be 
met  with  in  the  whole  oriental  section. 

Marryat,  at  p.  292,  awards  the  doubtful  honour  of  the 
invention   of  transfer-printing   to  Dr.    Wall,   who   founded   a 


452  KEEN-LUNG. 

porcelain  manufactory  at  Worcester  in  1751 ;  but,  seemingly, 
this  discovery  was  not  made  until  a  later  date,  as  in  a  footnote 
we  are  told  "  M.  Brougniart,  however,  states  that  this  style  of 
printing  was  first  used  in  the  Liverpool  works.  He  also  says 
that  the  art  of  printing  was  practised  upon  enamelled  pottery 
at  Marieberg  in  1760."  The  reason  given  by  Marryat  for  the 
introduction  of  this  system  is  of  interest  in  considering  this 
matter.  "  The  idea  of  printing  upon  porcelain,  in  order  to 
avoid  the  trouble  and  difficulty  of  reproducing  the  oriental 
and  other  patterns  then  in  vogue,  appears  to  have  originated 
with  Dr.  Wall,  who  was  skilled  in  printing.  To  him,  there- 
fore, is  generally  assigned  the  ingenious  method  of  transferring 
printed  patterns  to  biscuit  ware,  which  is  now  (1857)  universally 
practised."  P.  401  :  "  Printing  earthenware  is  effected  by 
transfer-papers  from  engraved  copperplates.  The  ink  used  is 
made  of  linseed  oil,  which  is  the  vehicle  of  the  colour,  and 
evaporates  in  the  baking,  leaving  the  colour  on  the  piece ;  and 
so  quickly  is  it  executed  that  a  plate  is  printed  in  England  in 
eight  seconds.  In  France  the  process  was  first  employed  in  1777 
to  print  the  cameo  heads  in  a  service  ordered  at  Sevres  by 
Prince  Bariatinsky  for  the  Empress  Catherine  II. ;  but  it  was 
not  generally  adopted  in  that  country  until  about  1808." 
Apparently,  up  to  the  time  of  Dr.  Wall,  the  Chinese  porcelain 
was  all  hand-painted,  so  that  it  is  not  until  the  last  half  of 
the  reio'ii  of  Keen- lung  that  we  need  look  for  transfer  work 
thereon;  and  it  is  only  in  the  under  glaze  decoration  of  the  later 
mandarin  that  there  is  any  suspicion  of  it  to  be  met  with.  The 
Chinese  seem  to  have  been  quite  an  fait  as  to  all  that  was  being 
done  in  ceramics  in  Europe,  and  it  would  appear  that  they  must 
have  known  of  the  invention,  and  either  made  use  of  the 
process,  or  set  to  work  laboriously  to  produce  by  hand  the 
particular  effects  of  transfer-printing.  Probably  the  latter,  for 
Mr.  Winthrop  writes :  "  With  regard  to  transfer  patterns  in 
mandarin,  I  have  again  examined  all  my  specimens,  especially 
those  where  the  borders  are  of  blue  under  the  glaze,  resembliug 
the  borders  found  upon  the  Fitzhugh  china  plates,  etc.,  and 
cannot  find  a  single  case  of  transfer.  Even  the  ordinary 
coloured  mandarins,  with  panels  of  coarse  Chinese  subjects  in 
gold,  red,  purple,  and  iron-red,  have  their  borders  beautifully 
painted  in  blue  under  the  glaze.     All  as  minutely  done,  and 


BLANC    DE    CHINE.  453 

in  such  excellent  taste  that  it  is  astonishing  to  find  them 
used  as  accessories  of  a  decoration  so  vulgar  and  ordinary.  I 
have  quite  a  number  of  beakers  and  quart-mugs,  but  all,  when 
put  under  the  magnifying-glass,  show  unmistakable  proofs  of 
being  hand-painted  throughout.  I  expect  it  will  turn  out  the 
same  with  the  Fitzhugh.  I  suppose  that  when  I  was  young 
I  was  told  it  was  transferred,  and  always  thereafter  accepted 
the  assertion." 

The  firm  already  referred  to,  who  still  import  these  plates 
into  the  United  States  for  everyday  use,  write  :  "  All  the  blue 
patterns,  both  in  the  so-called  Canton  and  Nanking  ware,  are 
painted  under  the  glaze  by  hand  ;  we  never  having  seen  any 
work  done  by  transfer  process  from  a  Chinese  source."  As 
already  stated,  this  opinion  is  borne  out  by  people  whose 
business  it  is  to  repair  old  china  in  this  country. 

It  is  clear  that  by  the  middle  of  this  reign  the  Chinese 
were  sending  to  Europe  those  elaborate  borders  that  could  not 
be  reproduced  by  hand  except  at  great  labour  and  consequent 
expense.  So  as  to  overcome  this  difficulty,  and  be  able  to 
compete  in  the  matter  of  price  with  the  oriental  produc- 
tions, process-printing  was  had  recourse  to  on  this  side ;  but 
the  evidence  on  the  whole  seems  to  favour  the  opinion  that 
the  Chinese  never  had  resort  thereto,  and  if  we  see  similar 
effects  in  Chinese  porcelain  to  process-work,  the  same  are  the 
result,  intentional  or  accidental,  of  hand-painting. 

Blanc  de  Chine. 

We  will  now  take  this  class  into  consideration,  as  much  of 
it  consists  of  soft  paste ;  the  most  of  it  belongs  to  this  reign, 
but  it  may  be  of  any  age  from  the  reign  of  Kang-he,  if  not 
earlier.  Every  piece  must  be  judged  of  according  to  its  appear- 
ance or  decoration,  and  we  have  little  to  guide  us  in  forming 
a  correct  opinion.  Nos.  782,  783,  784  belong  to  Mr.  Winthrop, 
who  kindly  sends  the  following  : — 

No.  782.  "  I  possess  a  12-inch  bowl  of  old  Chinese  porce- 
lain, rather  thickly  glazed,  entirely  white,  but  yet  not  of  a 
porcelain  particularly  resembling  the  blanc  de  chine,  although 
all  of  its  '  motives '  of  ornament  are  in  relief.  The  motives 
consist  of  the  conventional  waves  about  the  lower  part  of  the 


454  KEEN-LUNG. 

bowl,  with  broken  water  with  curly  breakers  every  here  and 
there.  From  these  waves  a  dragon  is  rising,  with  the  apparent 
intention  of  an  engagement  with  another  four-clawed  dragon 
overhead.  There  is  a  fish  or  two,  and  where  the  dragons  do 
not  hold  out  so  as  to  cover  the  surface  of  the  piece  satis- 
factorily, a  temple  or  pagoda  is  introduced.  All  of  this  is 
raised  upon  the  surface  about  one-sixteenth  of  an  inch,  and 
heightened  here  and  there  with  gilding  and  vermilion,  used 
sparingly,  however.  Inside  the  rim  there  is  a  border  of  about 
an  inch  wide,  not  in  relief,  but  composed  of  a  conventional 
diaper  pattern  between  lines,  with  reserves,  or  panels,  at 
intervals,  containing  ' emblems'  in  gilding,  heightened  with  a 
little  vermilion,  all  much  worn.  At  the  bottom  of  the  bowl, 
inside,  are  flowers,  also  much  worn.  The  glaze  of  this  piece 
is  thick  and  brilliant ;  and  if  one  were  speaking  of  a  piece  of 
'  Chelsea,'  one  would  call  it  a  '  floating  glaze.'  I  bought  it 
twenty  or  thirty  years  ago  at  Portsmouth,  where,  in  those 
days,  there  were  sometimes  rather  curious  pieces  of  old  oriental 
to  be  met  with. 

"  Of  actual  blanc  cle  chine,  I  have  a  pair  of  the  usual 
statuettes  of  the  goddess  Kouan-in,  seated  with  children,  about 
ten  inches  high.  This  lady  figures  constantly  in  blanc  de  chine, 
but  I  should  say  that  the  dragon  or  dog  '  Fo '  was  even  more 
common,  both  being  sometimes  of  very  large  size.  At  a  house 
in  Durham,  Kaby  Castle,  there  is  a  pair  of  these  blanc  cle  chine 
figures  quite  two  feet  high,  and  at  Frampton  Court,  in  Dorset- 
shire, another  pair  about  the  same  size. 

"  I  do  not  find  here  (Boston)  many  of  what  one  would  call 
the  '  stock  patterns  '  in  England — the  figures  of  the  dog  *  Fo,' 
and  the  standing  and  sitting  figures  of  the  goddess  Kouan-in 
and  such-like ;  nor  are  there  many  of  the  little  cups  shaped  like 
the  rhinoceros-horn  cups,  with  raised  sprigs  of  prunus  upon 
them.  Here  the  pieces  are  rather  the  pieces  cle  choix,  but  I  take 
it  that  among  them  would  be  found  many  pieces  of  white 
Japanese  porcelain  resembling  the  true  thing.  As  for 
discriminating  between  the  various  pastes,  I  believe  it  would 
be  difficult  in  view  of  the  fact  that  there  is  no  absolutely 
dividing  line. 

"  English  pastes  (except  Plymouth  and  Bristol)  are  classed 
as  soft,  but  there  are  numerous  specimens  of  old  Worcester,  for 


785. 


786.     [To  face  p.  455. 


COLOURED    GLAZES.  455 

instance,  that  have  been  believed  to  be  Bristol,  and  appear  as 
hard  as  most  '  hard  pastes  '  so  styled. 

"  My  old  friend,  Mr.  Binns,  used  to  say  that  there  were 
mixings  of  old  "Worcester  that  if  a  little  over  fired  would  be 
mistaken  by  any  one  for  'hard  paste.'  This  must  be  the  case 
with  oriental  mixtures  whenever  they  get  outside  of  the  true 
hard  paste. 

"A  great  number  of  the  figures  of  Ivouan-in  and  of  the  dog 
or  lion,  whichever  he  may  be,  seem  to  me  to  have  the 
characteristics  of  soft  paste.  Of  the  two  little  teapots  at 
Eyde  (No.  783)  the  one  shaped  as  the  peclie  de  longevite  is 
doubtless  soft  paste.  As  for  the  ivory  specimens  of  blanc  de 
chine  (such  as  one  sees  in  the  rhinoceros  cups  (No.  846),  etc.), 
it  does  not  seem  to  me  a  porcelain  distinctly  different  from 
pieces  that  are  white.  The  little  coffee-pot  suggested  on  my 
last  page,  is  of  a  porcelain  resembling  very  closely  the  ivory 
pieces,  but  it  is  almost  white. 

In  this  neighbourhood  (Isle  of  Wight)  I  once 
bought,  at  an  auction  sale,  a  little  coffee-pot  (No.  781).  It 
has  the  prunus  bough  and  flowers  raised  upon  each  side,  and  is 
absolutely  perfect. 

" '  Du  Sartel '  assigns  these  objects  to  the  Kien-lung 
period. 

"  No.  783.  Somewhat  similarly  I  once  bought  another  little 
Wane  de  chine  pot,  no  doubt  intended  to  represent  the  peche-de- 
longevite,  with  raised  leaves  and  stems.  Both  are  perfect,  the 
last  being  very  pretty  both  in  model  and  in  paste,  and  not 
long  after  I  had  bought  it,  I  came  across  a  Bow  teapot 
modelled  from  one  similar,  also  pure  white. 

"  These  two  bits  of  blanc  de  chine  are,  I  am  aware,  of  ordinary 
patterns  and  type,  but  the  bowl  with  gilding  and  vermilion,  I 
do  not  remember  seeing  anything  like. 

Coloured  Glazes. 

No.  785.  Pear-shaped  biscuit  celadon  vase,  brown  edge  at 
top,  unglazed  base.  Height,  12h  inches.  No  mark.  Inside  and 
outside  it  is  covered  with  a  dark  yellow  glaze,  and  decorated 
with  the  prunus,  peeony,  lotus,  and  chrysanthemum,  the 
flowers   being    in   a   white   or   purple,  the  foliage   in   green, 

VOL.  II.  N  2 


456  KEEN-LUNG. 

and  the  rocks  in  blue  enamel.  At  the  base  there  is  a  cartouch- 
shaped  ornament  in  those  four  colours.  The  leaves  on  the 
neck  are  in  green,  with  a  blue  band  below,  followed  by  ajoo-e 
head  border  in  green  and  blue  with  purple  spots  on  a  white 
ground.  The  elephant-head  handles  in  white;  Dr.  Bushell, 
at  p.  2-13,  tells  us  these  imply  happy  augury. 

This  ware  is  the  modern  equivalent  of  the  old  Ming  biscuit 
decorated  with  coloured  enamels.  It  is  of  various  dates  and 
qualities,  and  each  piece,  as  in  other  descriptions,  must  stand  on 
its  own  merits  as  to  age  and  everything  else. 

In  No.  786  we  have  another  example  of  biscuit  celadon,  but 
a  more  unusual  one,  the  vase  in  question  being  covered  with  a 
fine  transparent  purple  aubergine.  Height,  20  inches.  No  mark. 
Base  glazed  same  as  the  vase.28  Both  sides  are  decorated  alike 
with  primus,  bamboo,  chrysanthemum,  and  lotus.  The  first  has 
a  long  green  trunk,  white  flowers  with  purple  centres,  and  a  bird 
at  top  in  dark  aubergine  and  white.  The  bamboo  has  yellow 
stalks  and  a  yellow  bird.  The  chrysanthemum  has  a  purple 
stalk  with  rich  red  purple,  yellow-centred  flowers.  The 
lotus  flowers  are  white  ending  in  red  purple.  The  foliage 
throughout  is  in  a  rich  green  enamel. 

Nos.  787  to  791  represent  ceremonial  vessels,  the  photo- 
graph of  which  was  kindly  sent  by  a  friend.  These  pieces, 
which  had  just  been  received  from  China,  probably  taken  from 
some  temple,  are  made  of  a  sort  of  stone-ware,  and  in  this  case 
covered  with  a  blue  glaze  of  mazarine  shade.  Nos.  788,  789, 
are  marked  Keen-lung  in  the  seal  character.  "  I  enclose  the 
few  rubbings  I  have  been  able  to  take  off  the  china.  One 
jar  has  no  raised  mark,  only  a  black  character  glazed  over,  and 
those  on  the  tall  vases  have  the  marks  at  the  far  end  of  the 
hollow  stem,  so  that  I  could  not  get  at  them  well."  These 
pieces  are  to  be  met  with  of  all  ages  and  pretty  well  in  all 
colours.  As  a  rule  they  are  of  coarse  quality  and  of  but  little 
value. 

28  These  coloured  glaze  bases  are  to  be  found  in  the  early  Kang-he 
and  late  Ming  pieces,  but  become  more  pronounced  in  the  ceramics  of  Keen- 
lung  and  later  reigns. — T.J.L. 


•2, 


C5 
I- 


O 


co 


CO 
GO 


GO 


792. 


793. 


[To  face  p.  457. 


794. 


795. 


[To  face  p.  457. 


ROSE   PLATES.  457 

We  have  now  come  to  what  are  known  as 

Rose  Plates. 

Most  of  them  belong  to  the  India-China  section,  under 
which  heading,  in  vol.  i.,  Nos.  378,  379,  382,  and  387  were 
given  as  examples  of  this  class.  In  the  present  instance  care 
has  been  taken  to  try  and  select  favourable  specimens,  and 
often  plates  and  dishes  of  great  beauty  are  to  he  met  with 
belonging  to  this  division,  generally  in  instances  where  the 
piece  has  been  made  for  nse  in  China. 

No.  792.  Dish.  Diameter,  11  inches;  height,  2  inches. 
No  mark.  This  is  one  of  those  pieces  coloured  in  faint  shades 
of  pink,  bine,  and  other  opaque  enamels  common  about  this 
time.  The  eight  panels  on  the  sides  are  marked  off  by  diaper- 
work  on  pink,  blue,  blue-green  enamel,  and  decorated  alternately 
with  flowers  and  landscapes  with  figures.  The  subject  in 
the  centre  is  the  same  as  that  found  on  Nos.  577,  705,  and  is 
the  third  instance  of  this  motive  being  employed  that  we 
have  met  with  in  this  series,  which  would  seem  to  argue  that 
it  must  have  been  a  favourite  one  with  the  Chinese. 

No.  793.  Lotus-shaped  dish.  Diameter,  10  inches  ;  height, 
1J  inch.     No  mark.     This  is  similar  to  the  bowl,  No.  403. 

"The  figures  round  this  dish  are  said  to  be  the  eight 
immortals." 

No.  794.  Rose  plate.  Diameter,  15f  inches ;  height, 
2j  inches.  No  mark.  Gilt  edge,  followed  by  a  narrow  band 
of  white  and  pink  flowers  on  a  green  ground.  On  the  rim, 
in  white  enamel,  are  four  sjn'ays  of  bamboo,  mixed  alternately 
with  primus  and  chrysanthemum.  On  the  sides,  in  yellow 
enamel,  a  fleur-de-lis  band ;  Avhile,  in  the  centre,  enclosed  in  a 
sepia  ring,  we  have  the  four  seasons  represented  by  the  prunus, 
preony,  bamboo,  and  chrysanthemum,  with  two  quails  (see  page 
9G)  painted  in  natural  colours,  standing  on  a  light  green 
ground.    This  is  a  very  artistic  plate,  and  a  somewhat  rare  one. 

No.  795.  A  plate.  Diameter,  15J  inches  ;  height,  1 J  inch. 
No  mark.  The  central  decoration  consists  of  lotus,  with  two 
ducks  in  rose,  green,  brown,  and  gilt,  the  sides  being  covered 
with  an  opaque  cream-coloured  glaze  on  which  the  diaper  is 
traced  in  sepia.  The  decoration  on  the  rim  is  the  most  telling 
part  of  this  plate.    Here  we  have  the  old  wave  pattern,  with  the 


458  KEEN-LUNG. 

sea  dashing  against  the  pillars  of  rock,  and  an  immortal 
appearing  between  each.  It  is  always  interesting  to  notice 
how  these  worthies  are  portrayed.  In  this  instance  Han 
Chnng-le  carries  his  fan  as  usual,  but  is  mounted  on  a  monster. 
Leu  rides  on  the  trunk  of  a  tree.  Le,  as  usual  when  at  sea, 
floats  on  his  gourd.  Tsaou  is  mounted  on  a  mule.  Lan, 
represented  as  a  man,  rides  some  sort  of  monster.  Chang,  as 
usual,  is  on  his  mule.  Han  Seang-tsze,  holding  a  great  gilt 
peach,  is  borne  on  a  leaf;  while  Ho  is  seated  in  a  skiff,  which 
she  steers  with  her  hoe. 

No.  796.  Kose  plate.  Diameter,  15f  inches ;  height, 
2  inches.  No  mark.  Brown  edge.  Three  red  paeonies  at 
back  of  rim.  On  the  rim,  at  the  edge,  there  is  a  band  of 
brown-red  curl-work,  from  which  spring  four  groups  of  flowers, 
rose  peonies,  and  chrysanthemums,  with  primus  and  bamboo 
sprays,  along  with  which  are  mixed  yellow  and  other  coloured 
flowers.  On  the  sides,  two  pink  and  two  green  bands,  with  a 
gilt  flower  in  the  middle  of  each.  The  reserves  are  marked 
off  by  blue  enamel,  and  filled  with  symbols.  In  the  centre,  two 
horses,  one  rose-coloured,  the  other  dappled  brown  and  gilt, 
under  a  willow  tree  with  purple  stalk.  This  seems  to  be  a 
very  bright  aubergine  glaze,  which  appears  in  the  rocks  also. 

No.  797.  Eose  plate.  Diameter,  15J  inches ;  height, 
2\  inches.  No  mark.  Brown  edge.  Here  at  the  edge  there 
is  a  scroll  band  in  gilt,  the  decoration  being  marked  off  by 
gilt  circles.  The  lower  part  of  the  rim  and  sides  are  decorated 
with  eight  red  fish  among  alternate  green  and  sepia  green 
bunches  of  water-plant.  In  the  centre  there  is  the  usual 
basket  of  flowers,  pink  peonies,  etc.,  the  basket  itself  being 
in  sepia. 

These  two  plates  "  are  simply  fancy  pictures,  and  represent 
no  scene." 

No.  798.  Plate  of  good  porcelain.  Diameter,  12J  inches  ; 
height,  2  inches.  No  mark.  Brown  edge.  There  is  a  pink 
band  with  ice  cracks  and  white  primus  blossoms  at  the  edge, 
and  another  pink  band  with  trellis-work  on  the  side ;  between 
these  the  decoration  on  the  rim  consists  of  lotus  flowers  with 
ducks,  and  in  the  centre  a  charming  group  of  pink  lotus 
flowers,  one  of  which  has  a  blue  centre.  The  foliage  is  in 
two  shades  of  green,  the  darker  being  somewhat  of  the  peacock 


796. 


797. 


[To  face  p.  458. 


798. 


799. 


[To  face  p.  459. 


— -■ 


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DECORATED   CHIEFLY   IN   RED.  459 

hue.  A  duck  aud  two  butterflies  complete  the  picture,  the 
whole  being  symbolical  of  summer. 

No.  799.  This  plate,  although  fine  of  its  kind,  is  not  of 
such  good  quality  as  the  preceding  one.  Diameter,  lGh  inches  ; 
height,  2j  inches.  No  mark.  Brown  edge.  There  is  some- 
thing French  about  the  arrangement  of  the  pink  and  blue 
diaper  band,  which,  with  poeonies  and  lotus  flowers,  decorate 
the  rim.  The  brown  curl-work  band  at  the  edge  does  not 
go  right  round,  but  is  cut  into  four  sections  by  the  above- 
named  bands,  which,  with  the  lotus  flowers,  form  four  designs 
connecting  with  the  alternating  pink  and  blue  trellis-work, 
on  the  side  which  the  reader  will  notice  is  broken  by  eight 
of  those  three  pointed  designs  we  find  so  often  in  these  and 
eggshell  plates,  Nos.  366  and  747,  for  instance.  They  may 
be  intended  to  represent  the  joo-e  head  or  the  top  of  the 
pomegranate,  as  found  on  late  blue  and  white  plates  (see  Nos. 
876,  877.  In  the  centre  there  is  a  group  of  pink  ppeonies, 
with  green,  blue,  and  brown  foliage,  with  gilt  veining  such 
as  is  generally  to  be  found  in  pieces  belonging  to  the  mandarin 
section. 

No.  800.  Eose  plate.  Brown  edge.  Diameter,  15  J  inches ; 
height,  If  inch.  No  mark.  The  rim  and  sides  are  decorated 
with  the  usual  joo-e  head-shaped  ornaments  in  brown-red 
curl-work,  on  which  are  thrown  rose-coloured  poeonies  and 
other  flowers.  In  the  centre  is  a  large  rose  pasony,  with 
variously  coloured  begonias  rising  about  a  brown  leaf,  below 
which  is  a  large  yellow  flower.  This  is  a  line  plate  of  its 
kind,  the  colouring  being  very  good. 

Decorated  chiefly  in  Bed. 

No.  801.  A  bulbous  vase,  with  spreading  base  and  trumpet 
mouth.  One  of  a  pair.  Height,  17i  inches.  No  mark. 
This  is  the  second  instance  we  have  met  with  of  this  shape 
(see  No.  772),  which  seems  to  have  come  into  fashion  about 
this  time.  Decorated  in  red  and  gilt,  with  a  little  green 
introduced  here  and  there.  The  motive  is  the  old  story  of  the 
fish  winning  dragonhood.  On  the  other  side  the  fish  is  seen 
rising  from  the  waves  that  surround  the  base,  while  above, 
converted  into  a  four- claw  dragon,  it  extends  round  the  body 
of  the  vase.     On  the  lower  part  of  the  neck  there  is  a  band 


460  KEEN-LUNG. 

of  curl-work  all  in  red,  the  pattern,  merely  relieved  by  lotus 
flowers,  being  introduced  at  intervals  :  the  scrolls  or  clouds 
are  in  gilt  or  green  enamel.  Above  this  there  is  a  leaf  band, 
and  the  reader  will  notice  the  broader  and  more  complicated 
form  of  the  leaves,  as  in  No.  690,  compared  with  the  older 
forms  of  this  pattern.  Key  and  joo-e  head  bands  in  gilt  on 
red  complete  the  decoration. 

Dessert  Plates. 

In  no  section  do  we  meet  with  greater  variety  than  in  this, 
where  nearly  every  style  of  decoration  is  to  be  met  with,  and 
it  would  be  possible  to  form  a  collection  of  these  plates  that 
would  very  well  illustrate  the  whole  history  of  Chinese 
ceramics  during  the  present  dynasty. 

No.  802.  Rose  plate.  Diameter,  8 J  inches  ;  height,  1J 
inch.  No  mark.  Brown  edge.  This  is  known  as  the  barn- 
door pattern,  and  is  probably  one  of  the  earliest,  as  also  one 
of  the  most  effective  of  the  many  designs  we  find  on  these  rose 
dessert  sets.  The  lady  in  the  centre  is  clad  in  a  green  enamel 
mantle  with  yellow  skirt,  and  might  have  stepped  out  of  a 
Kano;-he  faniille  verte  dish ;  but  the  rest  of  the  decoration 
belongs  entirely  to  the  rose  period.  On  the  rim  six  pome- 
granates with  shaded  rose  leaves  alternate  with  six  diaper 
ornaments,  brown  curl-work  and  pink  ground  trellis-work 
doing  duty  turn  about ;  the  former  are  decorated  with  a  citron, 
the  latter  with  a  peach,  both  resting  on  a  joo-e  head  ornament. 
At  back  there  are  three  fungi  traced  in  red. 

No.  803.  Eose  plate.  Diameter,  9J  inches  ;  height,  1  inch. 
No  mark.  Brown  edge.  This  is  probably  of  somewhat  later 
date  to  the  last,  and  is  of  a  coarse  grey  porcelain ;  but  the 
decoration  is  most  delicate  and  very  charming.  The  marking 
off  is  done  by  a  number  of  pink  lines  ;  the  trellis-work  border 
at  the  edge  is  in  pink  broken  by  eight  small  gilt  lotus  flowers. 
The  rim  is  covered  with  pink  fish-roe  work,  which  gives  the 
plate  quite  a  different  look  to  those  with  the  ordinary  brown 
curl  diaper.  This  is  broken  by  two  leaf  and  two  fan-shaped 
reserves  marked  off  by  green,  and  between  these  are  four  large 
pink  and  eight  small  flowers  with  green  foliage.  To  the  left, 
above  a  small  lotus,  the  reader  will  notice  a  yellow  pointed 
peach.     On  the  side  the  flowers  are  in  pink,  blue,  and  yellow 


802. 


803. 


[To  face  p.  460. 


804. 


805. 


[To  face  p.  461. 


DESSERT   PLATES.  461 

with  green  leaves.  In  the  centre  there  is  a  large  jardiniere 
with  magnolia  tree  and  pink  paeonies  with  a  lot  of  little  flowers 
in  various  colours.  To  the  left  is  a  vase  with  pink  preony  and 
flowering  sprays.  At  foot  a  pink  lotus ;  at  back  four  flowers 
traced  in  red  and  roughly  shaded.  In  looking  at  this  plate 
one  can  only  regret  that  it  is  not  eggshell. 

No.  804.  Eose  dessert  plate.  Diameter,  8J  inches ;  height, 
£  inch.  No  mark.  Brown  edge.  This  would  be  a  very 
ordinary  plate  were  it  not  for  the  double  boy  decoration  in 
the  centre,  which  is  sufficiently  rare  always  to  give  such  pieces 
value  in  the  eyes  of  collectors.  That  they  are  a  Buddhistic 
symbol  is  clear  from  the  lotus  flowers  and  leaves  with  which 
they  are  surrounded  on  a  brownish  red  curl-work  diaper.  The 
boys'  figures  are  sketched  in  red,  and  their  bodies  shaded  in 
flesh  colour.  The  border  is  marked  off  by  scrolls  in  blue 
enamel,  with  the  usual  rose  and  white  flowers  on  a  brown  fish- 
roe  diaper.  These  double  boys  seem  more  common  on  famille 
verte  than  in  these  later  descriptions. 

"  This  is  a  fancy  sketch  of  Buddhistic  origin.  The  amalga- 
mation of  little  children  with  lotus  flowers  is  supposed  to  show 
that  the  heart  and  disposition  of  children  are  good,  just  as  the 
lotus  flower  is  pure  and  spotless." 

No.  805.  Kose  dessert  plate.  Diameter,  9  inches ;  height, 
1  inch.  No  mark.  Brown  edge,  originally  covered  with  gilt. 
An  ordinary  porcelain  plate,  decorated  with  a  pattern  one  would 
expect  to  find  on  eggshell,  perhaps  the  result  of  an  order  from 
some  careful  person  who  admired  the  eggshell  services  but  did 
not  like  their  high  death-rate.  The  decoration  is  marked  off 
by  double  red  circles,  with  gilt  between.  The  pink  diaper  on 
the  rim  is  broken  by  four  reserves  filled  with  flowers.  The 
sides  are  covered  with  a  yellow  diaper,  the  reserves  having  a 
red  flower  with  blue  enamel  scroll-work.  The  scene  in  the 
centre  consists  of  two  ladies  and  two  children,  one  of  whom 
has  been  fishing  in  the  lotus  pond  and  caught  a  small  fish, 
which  one  of  the  ladies  is  removing  from  the  hook. 

"  This  is  also  of  Buddhistic  origin.  The  elder  boy  has 
hooked  a  perch,  and  the  younger  child  is  begging  for  it ;  but 
the  mother  refuses  to  let  them  have  it,  and  discourses  about 
the  wickedness  of  taking  life." 

Nos.  806,  807.  A  pair  of  conical  vases  covered  with  brown 


462  KEEN-LUNG, 

glaze  (see  p.  230),  very  fine  examples  of  this  class — in  fact, 
they  belong  more  to  the  cafe-au-lait  description,  which  may 
be  said  to  be  better  than  the  ordinary  run  of  brown  glaze, 
being  softer  in  tone  and  more  highly  vitreous.  Height, 
9  inches.  No  mark.  At  the  base  and  on  the  shoulder  there 
is  a  band  of  green  enamel,  on  which  (not  under)  in  black 
(bossed  up)  there  is  a  carefully  pointed  trellis -work  diaper, 
the  four  reserves  being  marked  off  by  yellow  bands.  The  two 
large  leaf-shaped  and  the  four  small  round  reserves  are  marked 
off  in  red,  and  decorated  with  the  most  carefully  drawn  and 
beautifully  coloured  flowers.  As  seen  in  No.  806,  there  is  a 
large  rose-coloured  pseony,  above  which  rises  the  aubergine 
trunk  of  a  magnolia  tree  with  the  blossoms  traced  in  black 
and  filled  in  with  white  enamel,  one  by  way  of  contrast  being 
in  blue.  At  foot,  traced  in  red,  there  are  two  smaller  flowers, 
one  filled  in  with  yellow,  the  other  with  blue  enamel.  In 
No.  807  there  is  a  pseony  spray,  with  a  rose  and  yellow  flower 
at  top,  both  traced  in  red.  The  two  anemones  lower  down  are 
in  rose  with  yellow  centres ;  the  smaller  peonies  in  blue 
traced  in  red.  The  flowers  in  the  smaller  reserves  are  all 
carefully  painted,  the  green  foliage  being  in  the  two  shades 
as  usual. 

A  large  quantity  of  this  brown  ware  is  said  to  have  been 
imported  into  Portugal  from  Macao. 

These  and  the  other  vases,  etc.,  are  placed  among  the 
dessert  plates,  for  they  are  identical  in  decoration,  and  belong 
to  this  time. 

No.  808.  Plate.  Diameter,  10j  inches ;  height,  1J  inch. 
No  mark.  Gilt  edge.  This  would  seem  to  be  the  result  of 
an  attempt  by  some  European  to  design  a  Chinese  pattern. 
The  rim  is  covered  with  a  blue-green  enamel,  much  the  same 
as  we  find  on  the  eggshell  plates  ;  the  diaper-work  consisting 
of  cross-lines  in  black ;  the  diamond-shaped  spaces  between 
being  ornamented  with  an  L-shaped  design,  certainly  a  poor 
substitute  for  any  of  the  Chinese  patterns.  This  border  is 
broken  by  twelve  white  reserves,  marked  off  by  black  margins, 
and  decorated  with  flowers,  fruit,  and  butterflies,  all  in  European 
drawing.  In  addition  to  these  there  are  twelve  shells  near 
the  edge,  and  twelve  leaf  or  feather  sprays  towards  the  centre, 
traced  in  reel  upon  the  white.     In  the  centre  the  figures  are. 


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DESSERT   PLATES.  463 

European  in  design,  as  also  the  arbour,  which  is  all  in  green, 
except  the  six  roses  to  the  reader's  right.  Two  of  the 
children  are  clothed  entirely  in  gilt.  In  front  there  is  a 
pond  with  three  ducks,  one  of  which  is  holding  its  head  under 
water.  At  back  there  is  a  kind  of  embattled  scroll  in  a 
brown-red.  These  plates  are  rather  sought  after  by  collectors, 
and  two  are  to  be  found  in  the  Salting  collection  at  South 
Kensington,  and  a  bine  and  white  one  in  the  Grandidier 
collection.  They  are  interesting,  and  not  without  some  good 
points.  There  is  a  small  jug  in  the  Franks  collection 
decorated  with  this  pattern,  but  in  other  colours. 

Xos.  809,  810.  A  pair  of  the  usual  conical-shaped  vases 
with  covers  so  common  about  this  time.  Height,  11J  inches. 
Xo  mark.  Decorated  with  pseonies  and  cocks,  most  wonderful 
specimens  of  colouring,  with  the  shades  beautifully  blending. 
At  the  base  and  on  the  ed^e  of  the  cover  there  is  the  brown 
glaze,  which  seems  originally  to  have  been  covered  with  gilt. 
On  the  shoulder  there  is  a  pink  enamel  joo-e  head-shaped 
border  with  black  edge.  The  cocks  are  of  the  usual  Cochin 
China  type,  but  have  green  wings  and  pink  breasts  and  legs, 
and  seem  to  be  disputing  possession  of  the  rock,  which  is  in 
that  blue-green  so  often  met  with  in  diapers  and  blue  enamel. 
The  peonies  are  in  a  lovely  deep  shade  of  rose,  while  the  trunk 
of  the  peach-tree  is  in  a  purple  aubergine  with  rose  and  yellow 
blooms,  the  latter  being  traced  in  red. 

No.  811.  Dessert  plate.  Diameter,  8J  inches ;  height, 
1J  inch.  Xo  mark.  Brown  edge.  Here  we  have  the  same 
subject,  and  if  the  drawing  of  the  flowers  and  colouring  is 
not  so  good  as  in  the  vases,  the  two  birds  are  at  least  more 
true  to  nature.  The  diaper  on  the  rim  is  the  same  we  find 
on  the  eggshell  plates  traced  in  red  and  blue  on  a  ground 
of  blue-green  enamel.  The  rock  is  shaded  in  blue  and  white 
enamel. 

Xo.  812  seems  to  have  been  designed  as  a  wine-pot. 
Height,  Q\  inches  ;  diameter,  3  inches.  Xo  mark.  Except 
the  gilt-edged  perforated  panel  fixed  on  each  side  with  red 
and  pink  flowers  among  green  foliage,  the  only  decoration 
is  the  two  lions  in  red  and  green,  which  serve  as  handle  and 
spout.  The  lid  is  left  white,  except  a  red  band  with  gilt 
diaper-work. 

VOL.  II.  0 


464  KEEN-LUNG. 

In  No.  813,  we  have  an  example  of  the  sort  of  teapot 
made  about  this  time  for  the  European  market.  Height, 
4J  inches.  No  mark.  Decorated  in  the  rose  verte  style 
with  green  diaper  bands.  The  body  and  lid  are  covered  with 
green  scroll-work  connecting  rose  and  yellow  lotus  and  paeony 
flowers,  while  on  one  side  is  a  reserve  decorated  with  a  lady 
riding  on  a  mule,  followed  by  attendant. 

Foreign  Designs. 

The  time  has  now  arrived  when  we  must  take  this,  as  a 
class,  into  consideration.  If,  for  the  most  part,  it  does  not 
show  any  high  degree  of  artistic  merit,  it  is  at  least  of  interest 
in  many  ways,  and  if  nothing  else  shows  what  painstaking, 
clever  copyists  the  Chinese  were,  and  the  best  examples  of  their 
skill  in  this  line  probably  belong  to  the  last  half  of  this  reign. 
The  fairest  way  to  judge  of  the  amount  of  their  success  is  to 
compare  the  European  efforts  at  reproducing  Chinese  motives 
with  the  Chinese  copies  of  European  designs,  when,  as  usual, 
most  people  will  consider  that  the  Chinese  must  be  awarded 
the  first  place. 

No.  814.  This  is  an  interesting  dish.  Diameter,  9J  inches  ; 
height,  lh  inch.  No  mark.  For  in  addition  to  the  figures 
being  in  European  dress  of  the  seventeenth  century,  the  style 
is  Japanese,  and  at  first  sight  it  would  be  pronounced  to  be 
Imari.  With  the  exception  of  the  lady's  headdress,  which  is 
green  enamel,  the  only  colours  employed  are  red,  black,  and 
gilt.  Here,  again,  we  find  the  colour  put  on  the  figures  in 
lines,  as  if  copied  from  some  engraving.  Probably  this  dish 
was  made  in  imitation  of  Japanese,  for  sale  to  the  Dutch  at 
Nagasaki,  and  although  the  figures  are  in  seventeenth-century 
dress  this  piece  is  of  later  date. 

Of  all  the  pieces  decorated  in  European  style  the  gem  is 
represented  in 

No.  815.  A  small  gourd-shaped  vase,  with  handles  connect- 
ing the  two  bulbs.  Height,  6|  inches.  Mark,  Keen-lung,  in 
four  plain  characters  enclosed  in  a  double  square,  like  a  seal. 
The  surface,  other  than  the  reserves,  is  covered  with  a  raised 
scroll  pattern  and  coated  with  that  bluey-green  enamel  so 
common  about  this  period.     The  bands,  top  and  bottom,  are  in 


■"±1 


1— 1 
CO 


CO 


CO 
1— I 
CO 


CO 

sis 
<» 


i— i 
00 


T— I 

00 


FOREIGN   DESIGNS.  465 

a  lighter  green,  with  that  sort  of  fleur-de-lis  baud  in  gilt  which 
is  always  cropping  up  on  the  sides  of  plates  made  for  the 
European  market.  The  bands  marking  off  the  reserves  are 
shaded  in  blue,  ending  in  pink  at  the  base,  and  around  these 
are  twined  scroll-work  in  yellow.  The  upper  bulb  is  decorated 
with  lotus  scroll-work  in  pinks  and  other  shades,  same  as  we 
find  on  bowls  of  this  period.  As  seen  in  the  illustration,  the 
large  reserve  is  decorated  with  a  lady  and  two  children,  painted 
with  all  the  care  of  a  miniature  ;  while,  on  the  other  side,  there 
is  a  lady  with  her  hat  on  and  one  child,  and  a  similar  straw 
basket  for  flowers.  The  figures  are  dressed  in  the  most  delicate 
shades  of  pink,  blue,  yellow,  and  other  tones,  so  faint  at  times 
that  it  is  difficult  to  particularize  them,  while  the  same  may  be 
said  of  the  greens,  browns,  and  neutral  tints  of  the  rocks  and 
foliage,  all  painted  with  the  greatest  care.  The  small  reserves 
at  the  sides  are  filled  with  little  landscapes  in  a  bright  pink. 
As  far  as  miniature  painting  goes,  this  is  a  masterpiece  of 
Chinese  art  in  that  particular  line,  and  shows  what  great  skill 
they  had  in  copying  European  drawings. 

No.  816.  Dessert  plate.  Diameter,  9  inches  ;  height,  1  inch. 
No  mark.  On  the  rim  are  three  medallions  marked  off  by  gilt 
scroll-work,  and  decorated  with  landscapes  in  pinks  and  bistre, 
that  at  the  top  being  a  winter  scene  with  windmill.  The  spaces 
between  are  occupied  by  scroll-work  in  red,  pink,  and  gilt. 
The  sides  are  covered  with  a  gilt  scroll-work.  In  the  centre, 
enclosed  in  red,  pink,  and  gilt  scroll-work,  is  a  picture  of  three 
men,  one  of  whom  seems  to  be  buying  fish  from  the  others,  who 
appear  to  take  them  out  of  a  tub — three  and  a  skate  being 
displayed  on  the  ground.  There  is  a  little  blue  enamel  used 
in  the  dresses  of  the  men,  and  one  has  yellow  enamel  sleeves, 
but  most  of  the  colours  are  browns  and  reds,  that  lie  flat  on  the 
surface  of  the  piece. 

No.  817.  Dessert  plate  of  greenish-coloured  porcelain. 
Diameter,  9  inches  ;  height,  1^  inch.  No  mark.  In  the  centre 
of  this  plate  the  decoration  is  in  Chinese  style — pneonies  with 
two  birds,  a  red  spray  and  rocks  as  usual  at  this  period  in  sepia 
and  red.  On  the  sides  there  is  a  gilt  scroll  band,  and  on  the 
rim  a  scroll  pattern  in  white  enamel.  The  three  reserves, 
however,  are  quite  European,  and  perhaps  represent  sporting 
scenes.     One  being  decorated  with  hounds  and  guns  ;  another 


466  KEEN-LUNG. 

with  a  man  seemingly  trying  to  get  unseen  at  two  ducks  in  the 
water  ;  while  the  third  shows  doves  and  arrows. 

The  birds  are  probably  intended  for  the  thrush,  which  we 
often  find  on  these  sort  of  plates.  "  A  kind  of  thrush  called 
'  Jcwa  mi,  or  pictured  eyebrow,' of  a  greyish-yellow  colour,  is 
often  kept  in  cages  as  a  song-bird,  and  when  well  trained  bears 
a  high  price.  There  is  a  variety  called  yeli  Jcwa  mi,  from  the 
predominance  of  white  in  the  plumage.  Another  species  of 
thrush  of  a  dark  plumage,  called  wu  shi  kilt,  is  likewise  reared 
as  a  songster ;  it  is  larger  than  the  hwa  mi,  and  often  carried 
out  upon  a  perch  by  native  gentlemen  in  their  strolls.  There 
is  a  species  of  thrush  with  the  feathers  of  the  head,  neck, 
breast,  and  wing-coverts  steel-blue,  and  a  white  spot  on  the 
wings,  which  is  also  an  attendant  of  their  leisure  hours.  A 
party  of  Chinese  gentlemen  are  not  unfrequently  seen,  each 
with  a  cage  or  perch  in  his  hands,  seated  on  the  grass  or 
rambling  in  the  fields  actively  engaged  in  catching  grass- 
hoppers for  their  pets.  The  spectacle  thrush,  so  designed 
because  its  eyes  are  surrounded  by  a  black  circle,  bearing  a 
fancied  resemblance  to  a  pair  of  spectacles,  is  also  reared  in 
captivity.  But  the  favourite  song-bird  is  the  lark,  of  which 
there  are  three  sorts  reared  for  sale ;  it  is  called  peli  ling,  i.e. 
hundred-spirit  bird,  from  its  activity  and  melody  '  ("  Middle 
Kingdom,"  vol.  i.  p.  259). 

Dr.  Bushell  tells  us,  at  p.  174,  that  "  sepia  painting  in  ink 
was  known  to  Kiang-hsi,  but  is  more  characteristic  of  suc- 
ceeding reigns."  We  find  the  designs  in  the  Kang-he  pieces 
often  marked  out  in  sepia,  but  the  porcelain,  decorated  entirely 
in  sepia,  seems  to  belong  chiefly  to  the  Keen-lung  period,  and 
of  this  we  have  a  very  good  example  in 

No.  818.  A  dessert  plate.  Diameter,  9  inches ;  height, 
1  inch.  No  mark.  There  are  two  similar  plates  in  the  British 
Museum,  of  which  Sir  Wollaston  Franks  gives  the  following 
description  :  "  Chinese  porcelain,  pencilled  in  black  with  pink 
flesh  tints.  An  archway  enclosing  an  allegorical  design 
emblematic  of  a  marriage ;  Juno  receiving  the  young  couple, 
etc.,  in  front  of  Neptune  and  Tritons.  Border  of  lace  work 
in  gold." 

Mr.  Lucius  W.  Byrne,  who  was  good  enough  to  try  and  find 
out  about  this  piece,  writes  as  follows  : — 


818. 


819. 


[To  face  p.  46(3. 


CD 


CO 


CO 


O 
<M 

CO 


FOREIGN   DESIGNS.  467 

(i  1  have  beeu  to  the  British  Museum  to  try  and  find  out 
something  about  the  wedding  plate.  They  have  a  similar  ono 
there,  but  the  painting  on  it  is  not  so  carefully  done. 

"  They  cannot  identify  the  arms,  but  I  gave  them  the 
extra  details  shown  on  your  plate,  and  they  may  try  again. 

"  The  print-room  people  do  not  know  the  print,  but  think 
the  date  is  probably  about  William  III. 

"  The  writing:  round  the  arch  should  be  semper  amor  pro 
tb  firmissimvs  atqve  fidelis  ('  Ever  love  for  thee  most 
steadfast  and  faithful '). 

"  The  arms  on  the  left  are  probably  those  of  some  noble 
of  the  Empire. 

"The  number  of  the  plate  in  the  Franks  collection  is 
591. 

"  The  motto  under  the  arms  is  NVLLVS  VOLAT  ALTIVS  ales 
(<  No  bird  flies  higher ')." 

The  decoration  may  be  a  copy  of  a  print  belonging  to  about 
the  period  of  William  and  Mary,  but  they  occupied  the  English 
throne  during  the  middle  period  of  the  reign  of  Kang-he, 
while  the  plate  itself  is  certainly  of  much  later  date.  Mr.  C.  F. 
Bell  writes  :  "  Call  it  Louis  XIV.  This  covers  a  larger  period  ; 
besides,  it  is  of  course  of  Continental  origin." 

In  No.  819  we  have  another  example  of  how  successfully 
the  Chinese  could  copy  European  drawings.  This  dessert- 
plate  (diameter,  9  inches ;  height,  1  inch;  no  mark,  gilt  edge) 
is  decorated  in  bright  colours  with  what  are  known  as  Watteau 
figures.  A  gentleman  with  a  guitar  is  seated  by  a  cask,  while 
a  young  couple  seem  about  to  dance  to  his  music.  The  land- 
scape is  in  sepia  and  bistre.  The  various  bands  are  in  black 
and  gilt ;  the  decoration  on  the  rim  in  bright  enamels  and 
European  in  design. 

Antoine  Watteau  lived  1681-1721,  but  this  plate  seems  to 
be  some  fifty  years  later  than  the  last  date.  Mr.  C.  F.  Bell 
writes  :  "  The  so-called  Watteau  figures  are  no  doubt  taken 
from  some  composition  of  his  or  one  of  his  followers." 

Nos.  820,  821,  822.  A  semi-spherical  bowl.  Diameter,  15 J 
inches  ;  height,  GJ  inches.  No  mark.  Brown  edge,  originally 
covered  with  gilt.  Inside,  near  the  edge,  there  is  a  scroll  band 
in  bluish  pink.  At  bottom  three  gold-fish  in  red  among  water 
plants  in  sepia,  with  two  flies  in  brown,  as  if  they  had  been 


468  KEEN-LUNG. 

thrown  into  the  water  for  the  fish  to  feed  on.  The  groups  of 
four  dots  to  represent  flowers  are  in  green,  pink,  and  blue 
enamels,  all  in  Chinese  style.  Outside  the  decoration  is 
marked  off  in  red,  the  ground  work  between  the  reserves  being 
filled  in  with  gilt  scroll  work.  On  one  side  of  this  bowl  the 
figures  are  Chinese,  and  on  the  other,  as  shown  in  the  illustra- 
tions, European,  there  being  two  large,  two  medium-sized,  and 
eight  small  fan-shaped  reserves,  the  latter  being  filled  with  the 
usual  little  landscapes  in  pink.  In  No.  822,  we  have  an  evident 
copy  of  a  picture  of  Andromeda  and  Perseus,  and  in  No.  820 
of  a  drawing  of  two  European  figures  with  like  scenery. 
Enamels  are  little  used,  and  the  painting  is  in  sepia,  reds, 
browns,  and  other  flat  colours.  The  horses  are  in  shades  of 
brown.     This  and  the  following  belong  to  Mrs.  Bythesea. 

Nos.  823,  824,  825  represent  a  semi-spherical  bowl.  Dia- 
meter, 10J  inches ;  height,  4J  inches.  No  mark.  Brown  edge, 
originally  gilt.  This  is  one  of  the  Prideaux  pieces,  so  beyond  all 
doubt  belongs  to  this  reign,  and  is  a  very  interesting  specimen, 
showing  in  a  marked  degree  that  European  influence  which  is 
so  noticeable  in  many  instances  about  this  time.  The  decora- 
tion consists  of  the  eight  immortals  grouped  round  the  outside. 
Green  and  blue,  with  a  little  pink,  are  the  only  enamels 
employed,  and  these  very  sparingly,  by  far  the  greater  part  of 
the  ornamentation  consisting  of  drawing  in  sepia  and  reds, 
after  the  European  style ;  and  the  reader  will  be  amused  to 
notice  the  European  faces  worn  by  many  of  the  immortals. 
Inside,  from  two  black  lines  at  the  edge,  hangs  a  gilt  vine 
traced  in  black,  except  the  grapes  and  flowers,  which  are  out- 
lined in  red.  The  figure  at  the  bottom,  riding  on  a  fish,  has 
dispensed  with  the  European  influence,  and  looks  more  natural 
than  those  outside. 

Armorial  China. 

This,  no  doubt,  was  produced  in  execution  of  European 
orders,  during  the  Kang-he  period,  but  most  of  the  specimens 
now  to  be  met  with  seem  to  belong  to  this  reign,  it  having 
been  the  fashion  about  this  time  for  well-to-do  families  to 
make  use  of  china  decorated  with  their  arms,  and  large  quan- 
tities of  it  must  have  been  ordered  yearly. 

Nos.  826,  827  are  very  good  examples  of  the  general  run 


GO 


£ 


00 


CO 


CO 
00 


826. 


827. 


[To  face  p.  469. 


828. 


829. 


[To  face  i>.  469. 


DESSERT   PLATES.  469 

of  this  ware.  Both  are  unmarked,  and  have  brown  edges, 
originally  covered  with  gilt.  When  new,  no  doubt  these 
services  were  very  handsome,  and  must  have  looked  well  when 
in  use. 

No.  820.  Dessert  plate.  Diameter,  8|  inches  ;  height,  1  inch. 
The  decoration  is  chiefly  in  red  over  the  glaze,  with  gilt.  In 
addition  to  the  crest,  the  rim  is  decorated  with  two  gilt  shells, 
with  red  flowers  and  a  sepia,  and  blue  enamel  basket  with  red 
and  gilt  pomegranates,  and  peach  with  flowers.  The  coat  of 
arms  and  the  mantling  are  in  red  and  silver,  gilt  being  intro- 
duced in  the  helmet  and  crest. 

No.  827.  Dessert  plate.  Diameter,  9  inches  ;  height,  1  inch. 
The  rim  is  decorated  with  two  reserves,  one  with  European 
ship  and  lighthouse,  the  other  with  Chinese  junks  and  a 
roughly  drawn  pagoda.  Between  these  are  sprays  of  purple 
pink  flowers  with  green  foliage.  The  shield  is  red  with  a  gold 
border,  the  griffins  being  in  white.  The  mantling  is  in  red 
and  white,  the  palm  leaf  supporters  being  in  green. 

Masonic. 

Following  on  the  armorial  plates,  we  will  now  glance  at  one 
decorated  with  a  masonic  subject. 

No.  828.  A  roughly-made  porcelain  plate,  brown  edge. 
Diameter,  Sh  inches ;  height,  lh  inch.  No  mark.  At  the 
edge  we  have  in  gilt  the  usual  spiked  border,  enclosed  in  two 
black  and  a  silt  ring.  The  centre  decoration  extends  over  the 
bottom  and  sides  of  the  plate,  and  is  evidently  a  copy  in  the 
usual  mandarin  colours  of  some  European  drawing,  said  to 
represent  King  Solomon  explaining  the  plan  of  the  temple  to 
the  Queen  of  Sheba.  Masonic  implements  and  emblems  are 
strewn  in  front,  but  these  do  not  show  up  in  the  photograph.29 

Dessert  Plates. 

No.  829  is  somewhat  out  of  place  here,  as  it  should  by 
rights  have  come  with  the  other  dessert  plates  with  Chinese 

29  I  had  shown  to  me,  some  years  ago,  by  an  old  resident  from  China,  a 
famille  verte  plate  of  the  Kang-he  period  with  Masonic  emblems.  I  have 
written  to  my  son,  who  is  in  China,  to  try  and  obtain  any  information  he  can 
respecting  ceramics  with  Masonic  ornaments  upon  them. — T  J.L. 


4/0  KEEN-LUNG. 

designs.  It  is  of  common  quality.  Diameter,  9  inches ;  height, 
1  inch.  No  mark.  Brown  edge.  The  whole  surface  is  covered 
with  brown  curl-work,  on  which  coloured  flowers  are  thrown, 
except  the  scroll-shaped  reserve  in  the  centre,  and  the  smaller 
reserves  top  and  bottom.  On  the  scroll  a  gentleman  is  de- 
picted as  getting  over  a  wall  by  the  aid  of  a  willow  tree,  he 
having  first  thrown  his  boots,  which  have  alighted  at  the  feet 
of  a  lady.  That  it  is  night  is  shown  by  the  moon  and  stars, 
the  latter  being  strung  together  in  the  way  they  are  always, 
represented  by  the  Chinese. 

This  is  a  scene  taken  from  the  romance  called  Si-siang-ki, 
History  of  Pavilion  of  the  West. 

"During  the  Yuan  dynasty,  the  wife  of  the  Prime  Minister, 
Hsiao,  had  a  daughter  named  Sing  Sing  (the  nightingale), 
who  was  promised  in  marriage  to  a  gentleman  named  Chang. 
Afterward  the  mother  wished  to  break  off  the  betrothal,  and 
marry  the  girl  to  her  nephew,  Mr.  Tan.  Mr.  Chang,  afraid 
that  he  would  lose  his  bride,  climbed  a  tree  outside  the  garden 
of  the  house  where  the  nightingale  was  living,  and  jumped 
over  the  wall  to  meet  her.  In  all  this  he  was  aided  by  one  of 
her  female  attendants,  who  is  the  lady  seen  in  the  picture." 

Lowestoft. 

The  Lowestoft  question,  although  not  an  easy  one,  has 
been  made  too  much  of,  for  there  is  no  difficulty  in  telling 
the  Lowestoft  hard  paste  from  the  genuine  Chinese,  therefore 
the  matter  in  dispute  narrows  itself  into  one  of  whether  the 
latter  was  decorated  in  part  or  in  whole  in  Lowestoft  or  in 
China.  Mr.  Chaffers,  at  p.  765,  gives  statements  made  in  1865 
by  old  people  who,  as  also  their  parents  before  them,  had  been 
connected  in  years  gone  by  with  the  manufactory  at  Lowestoft, 
to  the  effect  "that  nothing  passed  out  of  the  factory  but  what 
was  made  in  it,"  and  that  "  no  manufactured  articles  were 
brought  there  to  be  painted,  but  that  every  article  painted  in 
the  factory  had  been  previously  made  there."  We  have  lots 
of  examples  in  this  series  of  how  admirably  the  Chinese  could 
imitate  or  co-pj  the  European  manner  of  painting,  and  there 
can  be  little  doubt  but  that  the  decoration,  which  appears  on 
Chinese  porcelain,  in  what  is  known  as  the  Lowestoft  style, 


830. 


831. 


To  face  p.  471. 


832. 


833. 


[To  face  p.  471. 


ROSE   P/EONY.  471 

is  for  the  most  part  if  not  entirely  the  handiwork  of  John 
Chinaman. 

In  regard  to  No.  419,  it  may  be  well  to  mention  that  the 
redecorating  of  that  jug  at  Lowestoft  seems  merely  a  vague 
family  tradition,  and,  without  attaching  too  much  importance 
to  the  above  declarations,  everything  points  to  their  being 
virtually  correct.  We  know,  moreover,  that  the  "  transfer '; 
system  was  introduced  because  the  English  artists  could  not 
compete  with  the  Chinese  in  the  matter  of  cost. 

In  No.  830 — a  plate.  Diameter,  16  inches  ;  height,  1| 
inch.  No  mark — we  have  an  example  of  this  so-called 
Lowestoft  style  of  decoration.  In  this  instance,  flowers  and 
insects  are  employed  ;  but  we  often  come  across  pieces  where 
figures  are  introduced,  and  all  seem  to  be  reproductions  by 
the  Chinese  of  the  European  copies  that  had  been  sent  to 
China.  Manufacturers  on  this  side  tried  to  bring  their  porce- 
lain up  to  the  Chinese  standard  of  quality,  and,  as  they 
succeeded,  to  make  it  more  like  the  real  thing  they  decorated  it 
with  Chinese  motives,  which,  in  their  turn,  the  Chinese  seem 
again  to  have  copied,  including  the  European  touch  along  with 
the  other  failures  and  shortcomings  made  in  the  endeavour  to 
reproduce  the  Chinese  decorations.  The  Lowestoft  and  other 
imitations  appear  to  have  been  very  poor,  and  therefore  the 
Chinese  copies  look  very  European,  which  has  no  doubt  caused 
the  confusion,  and  enabled  Lowestoft  to  give  its  name  to  a 
large  section  of  Chinese  porcelain.  That  this  particular  style 
of  decoration  must  have  been  admired  is  beyond  doubt  from 
the  large  quantity  of  china  belonging  to  about  this  time  on 
which  it  is  to  be  found. 

No.  831 — diameter,  16|  inches;  height,  2  inches.  No 
mark — represents  another  of  these  plates  decorated  with 
flowers. 

Rose  Pteony. 

No.  832.  Plate.  Diameter,  12 J  inches;  height,  1|  inch. 
No  mark.  Brown  edge,  four  red  pasonies  at  back  in  a  light 
wash.  The  rim  is  covered  with  fish-roe  diaper  in  brown 
with  two  fan  and  two  leaf-shaped  reserves  decorated  alternately 
with  paeony  and  chrysanthemum  in  pink  with  yellow  and 
other  colours,  The  diaper  is  thickly  strewn  with  primus 
vol.  11.  o  2 


472  KEEN-LUNG. 

blossoms  in  gilt  and  white,  the  pa3ony,  lotus,  and  other  flowers 
being  in  pink  relieved  by  yellow,  blue,  and  green.  The 
central  decoration,  enclosed  in  a  red  curl  and  spike  band,  con- 
sists of  pink  pseonies,  fuchsias,  and  other  flowers  relieved  by 
yellow,  blue,  and  green.  There  is  no  rock  at  foot,  but  a  blue 
leaf  in  place  thereof. 

No.  833.  Plate.  Diameter,  12 J  inches;  height,  1J  inch. 
No  mark.  Four  fungi  traced  in  red  at  back,  brown  edge. 
Here  the  decoration  is  not  quite  so  close,  but  the  plate  is 
equally  decorative.  To  begin  with,  there  is  a  red  band  with 
white  primus  blossom,  the  ice  cracks  being  in  gilt  and  arranged 
in  a  regular  pattern.  On  the  rim  are  four  pink  and  white 
pseonies,  the  smaller  flowers  between  being  in  pink,  blue,  and 
purple  along  with  yellow  and  green.  The  sides  are  covered 
with  red  fish-roe  work  decorated  with  white  primus  blossoms, 
below  which  appear  in  pink  and  white  two  pseonies  and  two 
chrysanthemums  with  coloured  flowers  between.  The  large 
pseony  in  the  middle  is  in  three  sections,  with  yellow  let  in  at 
the  top  and  surrounded  with  brown,  with  gilt,  blue,  and  green 
foliage  and  coloured  flowers. 

No.  834.  Plate.  Diameter,  13J  inches  ;  height,  2  inches.  No 
mark.  Brown  edge,  three  fungi  traced  in  red  at  back.  This 
plate  differs  from  the  two  previous  ones  in  that  blue  enters 
largely  into  the  composition,  although  pink  remains  the  pre- 
dominant colour.  The  border  at  the  edge  is  a  light  blue,  that 
at  the  top  of  the  sides  pink,  the  two  being  joined  by  the  six 
ornaments  which  are  in  a  darker  shade  of  blue  with  pink 
centres,  a  green  line  running  round,  interlacing  the  six  com- 
jmrtnients  which  are  decorated  with  pink  flowers  and  green 
foliage.  From  a  purple  rock  spring  three  large  pseony  flowers 
in  pink  and  a  magnolia  spray  with  purple  stalk,  pink  and 
white  blooms  with  touches  of  light  blue  here  and  there.  The 
two  pheasants  are  in  purple,  pink,  and  blue  with  gilt,  the 
foliage  in  green  and  purple.  The  purple  here  is  a  transparent 
enamel,  and  may  be  a  kind  of  aubergine. 

No.  835.  Rose  preony  plate.  Diameter,  13|  inches ;  height, 
2  inches.  No  mark.  Brown  edge,  three  pseonies  outlined  in 
red  at  back.  Here  blue  also  enters  into  the  composition,  but 
to  a  lesser  extent.  The  surface  of  this  plate  is  cut  into  five 
compartments  by  a  wide  pink  diaper  bordered  with  light  blue 


834. 


835. 


[To  face  p.  472. 


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MANDARIN.  473 

towards  the  eJo-e,  and  with  black  towards  the  centre.  The 
joo-e  heads  are  in  black  relieved  by  blue,  and  above  them  in 
gilt  circles  is  an  unusual  diaper  pattern  in  black  upon  blue. 
The  flowers  in  the  centre,  as  at  the  sides,  are  in  the  usual  pink 
enamel  with  green  foliage,  and  a  brown  leaf  with  gilt  veining 
here  and  there.  These  red-brown  leaves  with  gilt  are  very 
usual  about  this  period. 

Mandarin. 

With  regard  to  this  section,  Mr.  Winthrop  writes  as 
follows  : — 

"  I  used  to  feel  inclined  to  connect  the  '  Canton  china ' 
with  '  mandarins/  and,  even  with  the  fine  porcelains  that 
Beckford  is  said  to  have  preferred,  this  last  including  the  type 
of  the  ruby-backed  plates.  These  latter  are  generally  of  egg- 
shell, but  all  of  that  type  were  not  of  eggshell ;  and,  indeed, 
a  vase  made  by  any  other  process  than  turning  on  the  whee 
cannot  be  ground  down  to  eggshell,  but  there  seems  no  doubt 
these  all  came  from  the  north,  and  were  made  at  King-te-chin. 

No.  836.  "  In  the  Isle  of  Wight  I  have  a  pair  of  lozenge- 
shaped  jars  of  the  type  known  as  *  red  mandarins,'  that  seem 
to  join  the  ordinary  mandarins  to  those  finely  diapered  pieces 
that  Beckford  affected.  Its  cover,  neck,  and  base  are  of  the 
iron-red  diaper  composed  of  those  little  shapes  known  as  <  Y ' 
work  (Nos.  195,  356),  fitted  together  in  the  usual  way,  with 
small  panels  of  fay  sages  in  bistre.  The  borders  of  the  body 
are  finished  with  the  octagon  and  square  diaper  (see  No.  189), 
and  the  inner  border  within  the  sunk  panel  is  of  the  first 
diaper  (No.  195)  executed  in  pale  green.  The  panel  is  filled 
by  a  scene  of  figures  ordinarily  done  in  rather  coarse  washes 
of  colour,  all  of  the  decoration  being  enamel.  The  jars  seem 
closely  allied  to  the  yellow-grounded  jars  (No.  866)f  of  which 
you  have  photographs. 

Nos.  837,  838.  "  I  have  probably  referred  to  a  triplet  of 
slender  14-inch  hexagons  that  I  have  also,  with  small  panels 
containing  paysages  in  bistre,  hastily  executed  in  washes  (not 
stippled),  and  carefully  painted  polychrome  scenes  of  figures 
in  the  larger  panels  framed  with  borders  of  gilt  scroll-work 
outlined  with  black.  These  larger  panels  and  diapered  grounds 
of  cover  and  base  in  red  and  black,  are  altogether  in  the  style 


474  KEEN-LUNG. 

of  the  diapered  eggshell  cups,  and  the  body  is  of  really  fine 
porcelain.  These  are  not  uncommon — they  have  the  usual  red 
dog  on  the  cover,  and  a  ground  upon  the  body  composed  of 
gilt  scroll  meanders  (see  also  Nos.  352,  353).  The  panels  are 
bordered  by  gilt  scrolls,  rather  Louis  XV.  in  character,  out- 
lined with  black.  They  approach  very  near  to  the  eggshell 
type. 

"  Again,  amongst  the  common  pieces  of  oriental  that  turn 
up  in  sales  in  town  and  country,  are  sets,  or  what  remain  of 
sets  of  beakers,  that  first  came  to  England  in  *  garnitures '  of 
five  pieces,  three  with  covers,  and  two  open  beakers  (see  Nos. 
252,  253, 352,  353).  Their  panels  are  always  painted  with  scenes 
of  figures  precisely  like  those  upon  the  lozenge -shaped  jars.  It 
is  impossible  to  separate  them  or  not  to  believe  them  from 
the  same  source.  But  these  beakers  have  a  ground  of  blue 
under-glaze  of  varying  patteru,  and  frequently  the  exact  borders 
of  blue  under-glaze  that  appear  upon  a  great  number  of  the 
blue  and  white  plates  and  dishes  brought  to  England  and  to 
New  England  at  the  beginning  of  last  century.  Certain  of 
these  are  still  manufactured  for  the  New  England  market, 
and  used  by  the  families  that  have  used  nothing  else  for 
a  century. 

"  I  repeat  that  I  can  find  no  division  between  these  classes, 
and  must  believe  that  they  all  come  from  one  source.  There 
are  also  beakers  of  similar  shape  to  these  last,  with  shagreen 
surface,  their  panels  having  slightly  raised  borders  (see  No. 
253),  the  panels  containing  flowers  of  European  influence. 
Their  model  is  not  only  like  the  others,  but  the  vases  have  a 
handle  to  the  cover,  precisely  similar,  of  the  dog  of  Fo. 

"  There  also  comes  into  the  same  family  the  blue  and  white 
decorations,  where  there  is  the  panel  containing  a  sort  of 
willow  pattern,  the  ground  of  the  vase  being  of  simple  curls 
(see  Nos.  194,  252),  broken  at  intervals  with  slightly  raised 
leaves,  flowers,  butterflies,  and  such-like,  exactly  in  the  style 
of  the  Italian  faience  called  '  bianco  sopra  bianco.' 

"  This  model,  with  raised  flowers  and  all,  is  also  decorated 
as  a  '  red  mandarin,'  with  no  blue  under-glaze. 

"  I  have  at  the  Grange  a  pair  of  the  blue  and  white,  and 
under  my  eye  at  a  friend's  house  a  pair  of  the  same,  decorated 
as  '  red  mandarins,'  the  ground  entirely  of  the  diaper  No.  189, 


MANDARIN.  475 

broken  by  raised  flowers  on  the  sides,  enamelled.  These  have 
been  furnished  with  elaborate  *  French  mounts.' 

"  Several  times  I  have  had  an  opportunity  of  examining  a 
jar  that  ties  all  of  these  late  porcelains  together  in  an  interest- 
ing way.  Its  cover,  in  place  of  handle,  has  the  seated  figure 
of  a  China  woman  of  the  same  model  as  that  upon  the  yellow 
decorated  jars  (No.  8GG)  that  you  had  a  photograph  of,  cast 
in  the  very  same  mould.  The  panels  have  a  raised  border ; 
the  body  is  of  the  quite  natural  ivory  white  porcelain.  The 
decoration  is  entirely  done  in  bistre,  much  of  it  being  'stippled,' 
and  the  views  much  resembling  the  well-known  country  scenes 
somewhat  similar  to  the  willow  pattern,  only  more  finished 
and  detailed.  The  whole  scene,  however,  is  heightened  with 
gilt  lines.  The  figure  on  the  top  and  the  details  of  the 
borders  connect  it  distinctly  with  the  yellow  vases  (No.  866) 
— the  painted  scenes  with  many  of  the  blue-under- glaze  Chinese 
landscapes,  and  the  general  peculiarities  with  other  mandarins, 
including  the  '  red  mandarins '  that  we  have  considered.  And 
it  is  to  be  remembered  that  the  '  mandarins '  (meaning  the  red 
mandarins,  the  '  filigree '  mandarins,  and  the  partly  reticulated 
mandarins)  are  all  bound  to  the  diaper  porcelains  with  ruby 
backs,  and  come  from  Nanking. 

"  All  of  the  red  diaper  of  the  '  red  mandarins '  is  on  the 
surface,  although  not  literally  on  'enamel'  sensible  to  the 
touch.  It  is  therefore  fixed  only  in  the  '  enamel  kiln.'  It  is 
the  same  iron  red  that  we  seem  acquainted  with  in  almost  all 
oriental  porcelains,  and  subjected  only  to  the  moderate  heat 
of  the  enamel  firing  (see  Nos.  356,  357). 

"  I  have  here  in  Boston  an  incomplete  drawing  of  a  dish 
(No.  850)  with  a  pierced  border  at  A,  a  blue-enamelled  band 
at  B  broken  by  gilt  stars,  a  narrower  blue  band  at  C,  and  in 
the  centre  at  13  is  a  circle  of  the  same  blue  enamel  surrounding 
the  initials  of  my  maternal  grandparents  in  gilding. 

"This  I  conceive  to  have  been  the  stand  or  dish  of  a 
dessert  basket,  and  I  have  in  the  island  a  pair  of  dessert 
baskets  similarly  pierced  (No.  847),  but  entirely  decorated  in 
blue  and  white  under-glaze,  a  landscape  resembling  the  well- 
remembered  willow  pattern  occupying  the  bottom  of  the 
basket  inside. 

"  In  late  mandarins  there  is  a  constant  use  of  blue  under- 


476  KEEN-LUNG. 

glaze  in  combination  with  painting  in  enamel  colour,  leading 
to  the  conclusion  that  these  pieces  were  decorated  at  the 
porcelain  works. 

"The  enamel  painting  is  certainly  Chinese,  but  early 
writers  about  oriental  porcelain  believed  that  much  of  this 
enamel  painting  was  added  to  the  blue  and  white  ware  in 
Holland. 

"Personally,  I  have  met  with  little  oriental  porcelain 
decorated  in  Europe.  The  pieces  have  chiefly  been  ginger 
jars  coarsely  decorated  with  the  usual  rudimentary  landscape 
in  blue  under-glaze,  to  which  a  bright  decoration  of  flowers 
has  been  added  with  no  respect  to  the  landscape  beneath. 
The  addition  is  probably  Dutch. 

"  Apparent  want  of  experience  in  adapting  the  enamels  to 
the  porcelain  body  may  be  said  to  be  the  common  characteristic 
of  the  late  mandarins,  where  certain  enamels  have  come  out 
perfectly  lifeless." 

Mr.  Winthrop  is  in  the  habit  of  illustrating  his  letters  by 
means  of  pen-and-ink  sketches,  and  these  where  referred  to 
in  the  text  have  been  reproduced  on  the  next  page,  so  that 
the  reader  may  the  better  be  able  to  follow  what  Mr.  Winthrop 
says. 

Nos.  839,  840.  Handles  of  vegetable  dishes,  see  p.  450. 

No.  841.  Old  Japan,  Kakiyemon  style,  see  p.  375. 

No.  842.  Ked  bottles,  see  p.  358. 

No.  843.  Banded  hedge,  see  p.  376. 

No.  844.  Mandarin  vase. 

No.  845.  Square  vase,  see  p.  491. 

No.  846.  Khinoceros  horn  cup,  see  p.  455. 

No.  847.  Dessert  basket,  see  p.  475. 

No.  848.  Soft  paste  famille  verte  vase,  see  p.  340. 

No.  849.  Yung-ching  bowl,  see  p.  391. 

No.  850.  Dessert  basket  stand,  see  p.  475. 

The  three  saucers  in  the  next  photograph  may  not  be  of 
exactly  the  same  age,  but  they  are  placed  together  with  a 
view  to  illustrating  three  grades  of  quality  in  the  mandarin 
figures  with  which  they  are  decorated. 

No.  851.  Kuby-backed  dish.  Diameter,  5-J  inches ;  height, 
1-1  inch.  No  mark.  Here  we  have  the  central  decoration 
of  an  8-inch  eggshell  dish  or  plate  without  the  surrounding 


[To  face  p.  476. 


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MANDARIN.  477 

diapers.  A  lady  playing  on  a  guitar  is  seated  at  a  bamboo 
table  with  pink  top,  while  a  child  stands  on  the  other  side 
of  a  table  looking  at  a  book.  She  is  clothed  in  white  enamel 
shaded  with  green,  and  red  plaque  in  front.  The  lady  is 
dressed  in  very  delicately  coloured  enamels  with  rose  facings. 
The  large  vase  at  her  back  is  in  shades  of  yellow,  blue,  and 
salmon  colour.     All  the  enamels  on  this  piece  are  very  good. 

"This  depicts  the  famous  lady,  ' Precious  Pearl,'  playing 
on  the  guitar,  while  her  maternal  cousin  listens  to  her  per- 
formance, studying  at  the  same  time." 

No.  852.  Eggshell  dish.  Diameter,  6  inches;  height,  1} 
inch.  No  mark.  Here  we  have  a  halfway  house  between  the 
best  eggshell  and  the  ordinary  run  of  pieces  decorated  with 
mandarin  figures.  The  gentleman  seated  with  the  lady  play- 
ing the  flute,  as  also  the  two  attendants — one  playing  castanets, 
the  other  carrying  a  symbol — would  pass  in  any  eggshell  plate 
without  notice ;  but  the  settee,  as  also  the  stand,  are  not 
enamelled,  but  painted  in  iron  red,  while  the  gilt  scroll  at  the 
edge  is  such  as  is  usually  met  with  in  the  cheaper  forms  of 
mandarins. 

"During  the  Tsin  dynasty  there  was  a  man  named  Shih 
Tsung,  whose  concubine,  '  Green  Pearl,'  was  an  excellent 
player  on  the  flageolet  and  a  good  dancer.  After  her  husband's 
death  this  lady  retained  her  chastity,  committing  suicide  by 
throwing  herself  from  a  high  tower.  In  the  picture  she  is 
represented  playing  the  flute  to  her  husband,  two  attendants 
being  in  the  background,  one  carrying  the  Chinese  symbol  of 
chastity." 

No.  853.  Porcelain  dish.  Diameter,  5'f  inches ;  height, 
If  inch.  No  mark.  Here  we  have  the  usual  type  of  mandarin 
saucer.  At  the  edge  there  is  a  red  line,  with  a  waved  line  and 
dots,  both  in  a  darker  shade  than  the  top  circle.  The  ground 
in  the  centre  is  marked  off  by  a  red  line  drawn  across  the  dish, 
above  which  foliage  or  shrubs  are  indicated  in  sepia.  The 
three  ladies  are  dressed  in  enamels  of  poor  colour,  the  folds  of 
the  dresses  being  simply  indicated  by  black  lines ;  the  girl  is 
clothed  entirely  in  iron  red,  not  enamel.  The  red  dog  in 
front  has  almost  disappeared.  We  have  here  arrived  at  the 
sepia  and  brick-red  class ;  but  there  is  as  much  amusement 
and  pleasure  to  be  got  out  of  making  a  collection  of  the  same 


4/8  KEEN-LUNG. 

at  very  small  cost  as  in  gathering  together  specimens  of 
higher-priced  grades,  while  as  time  goes  on,  such  a  collection 
would  increase  in  interest,  and  from  many  points  of  view  be 
of  great  value. 

"  This  simply  represents  persons   gathering   flowers  in  a 
garden." 

No.  854.  A  slightly  fluted  saucer  with  waved  edge.     Dia- 
meter, 5 h  inches ;  height,  1J  inch.     No  mark.    The  decoration 
is  marked  off  in  sepia,  the  network  diaper  being  in  rose,  and 
four  of  the  reserves  filled  with  very  rough  landscapes  in  iron 
red.     In  the  centre  a  rope  dancer  and   two  attendants,  the 
colouring  being  chiefly  in  shades  of  iron  red,  with  green  and 
blue  transparent  enamels.     Father  Gerbillon,  in  the  account 
of  his  third  visit  to  Western  Tartary  in  1691,  in  the  suite  of 
the  Emperor  Kang-he,  gives  a  description  of  an  entertainment 
held   by  the   Emperor.     "  I   returned  before  they  had  done 
serving  wine.     In  the  mean  time  they  sent  for  rope-dancers, 
who  performed  several  feats  of  activity  upon  a  bamboo  held 
up  by  men  about  5  or  6  feet  from  the  ground.     I  saw  nothing 
extraordinary,  excepting  from  one  who  mounted  to  the  top  of 
a  tall  bamboo  set  upright,  on  the  point  of  which  he  performed 
with  great  activity,  bending  his  body  backwards  and  raising- 
it  up  again  a  thousand  ways ;  and,  what  was  most  difficult, 
he  stood  upon  the  end  of  the  bamboo  on  one  hand,  with  his 
feet  upwards.    The  rope-dancers  having  finished  their  exercise, 
puppets  were  brought  in  and  played,  much  resembling  those 
of  Europe.     The  poor  Kalkas,  who  had  never  seen  the  like 
before,  were  so  surprised  that  most  of  them  never  thought  of 
eating.     None  but  the  Grand  Lama  preserved  his  gravity,  for 
he  not  only  refrained  from  eating,  but  took  very  little  notice 
of  the  pastime ;  and,  as  if  he  had  judged  such  amusements 
unworthy  of  his  profession,  great   part   of  the   time   looked 
downward,   and   with   a   serious   air.      Some   time   after    the 
Emperor,  seeing  nobody  eat  any  longer,  ordered  the  tables  to 
be  cleared,  and  returned  to  his  tent." 

No.  855.  A  saucer  similar  in  shape  and  size  to  the  above. 
The  decoration  is  marked  off  in  sepia,  and  the  colours  em- 
ployed are  the  same  as  in  the  last.  This  seems  to  be  a  social 
scene — a  gentleman  in  winter  costume,  with  lady,  boy,  and 
female  attendant.     The  landscape  across  the  river  is  in  iron 


00 


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00 


MANDARIN.  479 

red,  the  houses  having  black  roofs.  The  border  is  in  purple 
pink,  the  garlands  in  green,  with  red  and  blue  flowers. 

No.  SoQ.  Saucer,  same  size  as  the  last  two,  but  not  fluted. 
Here  again  the  decoration  is  marked  off  in  sepia,  which  enters 
pretty  largely  into  the  composition,  along  with  iron  red.  The 
network  diaper  is  in  more  of  a  purple,  the  reserves  being 
ornamented  in  red.  The  greens  and  blues  of  the  ladies'  dresses 
are  transparent  enamels,  with  a  dirty  pink,  which  seems  to  be 
of  much  the  same  composition  as  the  other  opaque  colours. 

No.  857  differs  from  the  others  ;  the  porcelain  may  be 
rather  better,  but  is  less  cream-coloured.  Diameter,  4|  inches ; 
height,  1  inch.  No  mark.  Brown  edge.  The  border  is  in 
blue  under  the  glaze,  the  figures  are  better  drawn,  and  the 
dresses  of  the  lady  and  the  two  girls  are  in  delicate  shades  of 
jrink,  somewhat  purple,  with  blue  and  yellow,  and  the  covering 
of  the  lute  green  ;  the  rock  and  tree  are  in  light  washes  of 
iron  red.     Altogether  this  saucer  is  superior  to  the  others. 

Following  on  the  saucers,  we  will  take  as  a  specimen  of 
mandarin  jar  and  cover  of  the  same  period,  No.  858.  Height, 
9.1,  inches;  diameter,  1J  inch  at  base.  No  mark.  The  borders 
and  the  marking  off  of  the  medallions  is  in  blue  under  the  glaze, 
the  surface  between  being  covered  with  gilt  scroll-work,  while 
between  the  two  small  reserves  at  the  sides  there  is  a  flower 
spray  in  the  same  blue  applied  in  parallel  hatches.  These 
small  medallions  are  ornamented  with  a  red  flower  with  sepia 
foliage.  The  large  panel,  as  seen  in  the  illustration,  is 
decorated  with  a  lady  in  the  dull  pink  of  the  period  with  a 
blue  skirt,  the  attendant  being  in  blue  and  green,  and  the  child 
in  iron  red.  The  pavilion  has  a  sepia  roof,  iron  red  sides 
with  green  panels.  The  landscape  is  in  red  with  purple  foliage 
and  blue  enamel  clouds.  In  these  late  pieces  wre  find  the  blue 
under  the  glaze  used  in  conjunction  with  the  blue  over  the  glaze. 

Blue  and  White. 

That  no  illustration  of  the  blue  and  white  of  this  period, 
other  than  that  on  eggshell,  soft  paste,  or  combined  with 
other  colours,  has  been  given  sooner  is  entirely  due  to  the 
fact  that  as  a  rule  it  is  very  inferior  to  the  blue  and  white  of 
the  Kang-he  period.  A  great  deal  was  made  for  sale  in 
Europe,  but  very  little  of  this  seems  to  have  been  of  fine 
VOL.  II.  p 


4So  KEEN-LUNG. 

quality,  and  to  this  description  Mr.  Winthrop  lias  referred  to 
fully  at  page  449.  In  Nos.  859,  860,  we  have  examples  of  the 
blue  and  white  made  at  this  time  for  everyday  use  in  China ; 
in  Nos.  861,  862  of  that  made  for  export  to  Europe. 

No.  859.  Blue  and  white  dish.  Diameter,  7  inches ; 
height,  l.1,  inch.  Mark,  Keen-lung  seal.  Here  again  there 
are  two  blue  rings  at  the  edge,  as  also  marking  off  the 
central  decoration,  which  consists  of  a  five-claw  dragon  with 
carp  in  midst  of  waves.  At  the  back,  covering  the  rise,  are 
dragons  among  waves. 

No.  860.  Blue  and  white  dish.  Diameter,  7  inches ; 
height,  If  inch.  Mark,  Keen-lung  seal.  There  are  two 
blue  rings  at  the  edge,  and  two  more  enclosing  the  centre 
decoration,  which  consists  of  pine  and  primus.  At  back 
willow  tree  with  paling,  etc. 

These  are  very  good  examples  of  the  blue  and  white  of 
this  period.     Both  belong  to  Mr.  Simons. 

No.  861.  Octagon  blue  and  white  plate.  Diameter,  13 J 
inches ;  height,  1\  inch.  No  mark.  Brown  edge  originally 
covered  with  gilt.  This  plate  is  part  of  a  dinner  service  which 
belonged  to  the  Prideaux  family  (see  No.  750).  It  differs  from 
most  in  that  it  is  not  the  ordinary  blue,  but  more  like  that  to 
be  found  in  powdered  blue  and  whole-coloured  pieces,  is  of  a 
slate  colour  and  all  of  the  same  shade,  the  relief  having  been 
given  by  the  free  use  of  gilt,  which  gives  it  more  than  ever  the 
appearance  of  the  powdered  blue  pieces  with  gilt  scroll-work. 
The  dinner  plates  are  11  inches  in  diameter,  which  seems  to 
have  been  the  usual  size.  The  larger  plates  belonging  to 
these  services  vary  in  size,  and  are  said  to  have  been  called 
supper  plates,  as  they  were  put  on  the  table  with  cold  chicken 
and  other  eatables  that  were  carved  ready  for  use.  By  its 
history  this  plate  belongs  to  the  last  half  of  this  reign. 

No.  862.  Blue  and  white  plate.  Diameter,  14J-  inches ; 
height,  lj  inch.  No  mark.  Three  spur  marks.  This 
differs  from  the  ordinary  run  of  blue  and  white  in  that  the 
blue  is  quite  a  dark  grey,  so  that  the  plate  looks  almost  as 
if  it  had  been  painted  in  sepia  on  the  white  ground. 

"  This  lady  is  holding  a  paeony,  and  before  her  is  a  phcenix 
— the  idea  is  that  the  paeony  is  the  king  of  all  flowers  and  the 
phcenix  the  king  of  all  birds." 


850. 


860. 


[To  face  p.  480. 


861. 


8G2. 


[To  face  p.  480. 


863. 


864.     [To  face  p.  481. 


ENAMELLED    PORCELAIN.  4S1 


KEA-KING,  1796-1821. 

Under  the  feeble  rule  of  this  monarch  the  country  got  into 
a  very  disturbed  state,  and,  as  was  always  the  case,  whenever 
China  ceased  to  prosper  King-te-chin  suffered.  There  must, 
however,  have  been  a  large  staff  of  skilled  artisans  at  the 
imperial  works,  accustomed  to  work  up  to  the  high  standard 
of  the  preceding  reign,  and  to  this  reason  we  are  probably 
indebted  for  the  fine  quality  pieces  we  sometimes  meet  with 
under  this  mark :  the  court  apparently  took  little  interest  in 
art  or  bestowed  much  patronage  thereon.  The  porcelain  of 
this  period  is  often  of  a  good  white  paste,  as  we  see  exempli- 
fied in  the  better  quality  services  made  for  Europe  and  America 
early  in  the  nineteenth  century. 

Enamelled  Porcelain. 

For  the  finest  examples  of  any  reign  or  class,  one  has  only 
to  go  to  the  Bennett  collection,  and  in  Nos.  863,  864  we  see 
this  Kea-king  period  at  its  best.  Some  of  this  enamelled 
ware,  decorated  with  conventionalized  floral  designs,  is  very 
beautiful,  and  seems  to  have  been  in  vogue  about  this  time 
(see  also  Nos.  397,  399),  as  in  the  following  reign,  to  which 
fine  specimens  also  belong. 

No.  863.  "  Cylindrical  imperial  vase,  with  own  cover. 
Height,  7J  inches. 

"  At  the  neck,  shoulders,  and  base  are  various  bands.  The 
body  of  the  vase  is  composed  of  a  pale  turquoise  blue,  on 
which  run  many  flowing  designs  of  a  floral  character  in  various 
coloured  enamels  and  gold.  The  cover  is  also  covered  with 
pale  turquoise  blue,  on  which  are  floral  designs  in  the  same 
coloured  enamels  as  are  on  the  body. 

"  This  vase  has  almost  the  effect  as  if  it  were  jewelled,  the 
decoration  in  many  parts  being  slightly  raised.  It  is  a  very 
nice  piece  of  the  Kea-king  period,  1796-1821,  and  is  marked 
with  the  square  seal  mark  of  that  epoch  on  the  base  in  gilt." 

No.  864.  "  One  of  a  pair  of  imperial  ware  bottles,  with 
fancy  scroll  ears  in  coral  red  and  gilt,  7  inches  in  height. 

"  The  decoration,  which  is  in  famille  rose,  consists  of  several 


482  KEA-KING. 

fancy  bands  at  the  shoulder,  and  fancy  band  at  the  base  in 
manv-coloured  enamels.  The  design  on  the  neck  is  of  a  floral 
scroll  pattern.  On  the  body  the  decoration,  which  is  also 
somewhat  similar,  consists  of  a  floral  scroll,  amongst  which  are 
phoenixes  and  fruit. 

"The  whole  effect  is  very  graceful,  as  well  as  striking. 
They  belong  to  the  Kea-king  period,  1796-1821." 

No.  865.  A  double  rectangular  vase,  belonging  to  Mr. 
Henry  AYillett.  Height,  21  inches.  No  mark.  Unglazed  base, 
gilt  edges  at  top.  Marbled  band  on  the  necks  in  brown,  with 
black  marking.  This  is  a  most  decorative  piece  covered  with 
a  blue- green  enamel,  such  as  we  find  on  these  enamelled 
specimens,  and  ornamented  with  sprays  of  pink  peach  and 
white  primus  blossoms,  which  spring  from  aubergine  stems. 
The  whole  effect  is  very  charming  and  most  artistic.  Davis, 
vol.  i.,  p.  268  :  "  The  most  appropriate  and  felicitous  time  for 
marriage  is  considered  to  be  in  spring,  and  the  first  moon  of  the 
Chinese  new  year  (February)  is  preferred.  It  is  in  this  month 
that  the  peach-tree  blossoms  in  China,  and  hence  there  are 
constant  allusions  to  it  in  connection  with  marriage.  These 
verses  from  the  elegant  pen  of  Sir  Williain  Jones  are  the 
paraphrase  of  a  literal  translation  which  that  indefatigable 
scholar    obtained   of  a    passage    in    the    Chinese   'Book   of 

Odes'— 

"  '  Sweet  child  of  spring,  the  garden's  queen, 
Yon  peach-tree  charms  the  roving  sight ; 
Its  fragrant  leaves,  how  richly  green, 
Its  blossoms,  how  divinely  bright ! 

"  '  So  softly  shines  the  beauteous  bride, 
By  love  and  conscious  virtue  led, 
O'er  her  new  mansion  to  preside, 
And  placid  joys  around  her  spread." 

Professor  Giles,  in  "  Chinese  Literature,"  p.  235,  gives  a 
poem  by  Huang  T'ing-chien,  written  on  the  annual  visit  to  the 
tombs  of  ancestors,  which  commences — 

tl  The  peach  and  plum  trees  smile  with  flowers 
This  famous  day  of  spring." 

Owing  to  the  marbled  band  on  the  necks  of  this  piece,  we 
will  probably  be  not  far  out  in  considering  it  as  dating  from 


86.5. 


[To  face  p.  482. 


866. 


[To  face  p.  483. 


MANDARIN.  483 

this  period.  If  so,  it  just  shows  what  fine  work  they  were  still 
capable  of  turning  out.  This  vase  was  seemingly  intended  to 
hold  a  spray  of  peach  on  the  one  side  and  of  primus  on  the 
other ;  no  doubt  for  display  on  the  Chinese  All  Saints'  day  in 
reference  to  the  above  poem  by  T'ing-chien. 

Mandarin. 

No.  866  represents  a  jar  belonging  to  Mr.  Winthrop,  and 
the  following  is  his  description  of  it : — "  I  have  a  pair  of  large 
rectangular  vases,  with  covers,  of  a  clumsy  modelling,  thick, 
and  with  the  waved   surface   common   to  some  sorts  of  the 
mandarins.     On  the  top  of  the   cover  is  a  Chinese  woman, 
modelled  as  a  handle,  painting  her  face,  or  something  of  the 
sort.     On  the  shoulders  of  the  vases  modelled  Chinamen.     In 
the  large  panel  in  front  (with  a  raised  edge)  is  a  Chinese  scene 
of  ladies  riding  and  shooting  with  arrows  at  a  mark,  before  a 
richly  ornamented  palace  crowded  with  people.     All  is  care- 
fully treated  and  finely  finished  in  this  panel  and  in  that  on 
the  reverse.     The  borders  have  a  continuous  pattern  of  grape 
leaves  in  gilding,  and  the  grapes  in  black.     This  is  perfectly 
European,  and  an  ornament  very  common  at  the  end  of  the 
eighteenth  century  and  beginning  of  the  nineteenth.     On  the 
sides  are  narrow  upright  panels,  carefully  finished  in  sepia,  of 
what  is  intended  for  an  English  or  other  European  country  house. 
Unlike  the  little  vignettes,  in  sepia  usual  upon  mandarins, 
these  are  done  finely  in  stippling,  and  several  small  panels, 
all  with  raised  edges,  gilt,  are  similarly  painted  with  scenes 
taken  from  European  engravings  of  scenery  and  castles.     The 
little  vignettes  commonly  seen  on  mandarins  are   done  with 
light  washes  in  sepia,  hastily  drawn.     The  ground  colour  of 
these  vases  is  a  deep  reddish,  orange-yellow,  and  there  is  a 
band  of  vermilion  around  neck  and  base,  with  gilt  flowers. 

"  In  the  photograph  the  jar  shows  its  two  panels  fairly  well, 
that  on  the  side  representing  a  European  landscape  and 
country  house ;  but  the  small  dark  sepia  panels  above,  and 
especially  those  on  the  cover,  hardly  come  out  even  under  a 
magnifying-glass.  Outside  the  large  front  panel  is  the  yellow 
ground,  a  very  deep-red  orange,  with  a  complete  border  of 
vine  leaves  and  grapes,  in  gilding  completely  invisible  in  the 
photograph.     The  base  and  the  neck  have  a  band  of  vermilion, 


484  KEA-KING. 

the  former  with  a  '  key  pattern '  just  perceptible  in  the  side, 
and  at  the  neck  are  flowers  of  conventional  character,  as  may 
be  seen  on  the  side  toward  the  light.  The  panels  on  the 
cover  are  also  framed  in  very  finely-drawn  floral  borders, 
quite  invisible  here.  This  vase  has  a  very  red  mandarin  look 
about  it,  and  one  would  not  have  been  surprised  to  see  it 
grounded  with  an  iron-red  diaper  pattern.  But  I  have  never 
seen  a  red  mandarin  with  its  chief  panel  so  carefully  executed. 

"I  bought  the  pair  in  London  thirty-three  or  thirty-four 
years  ago  for  £20,  and  consider  they  date  from  about  1810. 

"  The  rather  coarse  and  waved  surface  of  this  jar  is  quite 
visible." 

No.  867.  Eegarding  this,  Mr.  Winthrop  wrote  as  follows  : — 
"  There  is  a  pair  of  13-inch  '  Indian  vases,'  of  Chinese  make,  with 
6  gros  bleu  '  bases  and  handles.  The  shaj)e  is  borrowed  from  the 
European.  The  husk  festoons  are  raised,  as  well  as  the  borders 
of  the  upright  oval  panels  on  which  (in  fine  stippling 
resembling  the  sejna  panels  of  the  yellow  vases,  No.  86Q)  are 
painted  funereal  urns,  overhung  by  the  foliage  of  weeping 
willows.  These  are  also  connected  (in  type)  with  the  yellow 
vases,  No.  8Q6,  by  there  being  grape  leaves  and  fruit  in  gilt 
upon  the  blue  borders. 

"  In  this  neighbourhood  there  are  four  sets  of  them  of 
identical  shape,  all  doubtless  of  one  time,  but  no  record  of 
their  importation  seems  procurable.  There  is  good  reason  to 
believe  they  came  to  New  England  somewhere  about  1810,  and 
as  such  a  '  batch '  came  together  it  is  to  be  inferred  that  they 
were  newly  made  at  that  time.  The  families  who  acquired 
them  are  affluent  people,  and  as  little  then  was  known  about 
porcelain,  and  these  are  upon  a  European  (Sevres)  model,  they 
were  possibly  sold  as  English  or  French  china  by  the  importer. 
On  the  other  hand,  Boston  and  Salem  were  then  ports 
intimately  connected  with  the  China  trade,  and  these  vases — 
then  the  latest  thing  in  Chinese  porcelain,  and  of  an  entirely 
new  departure — may  have  been  sent  as  presents  or  on  con- 
signment. 

"My  pair  are  the  least  important  of  these  that  I  am 
acquainted  with,  they  beiug  13  inches  high.  There  are  two 
larger  (presumably  about  15  inches)  and  two  very  much  larger, 
but  all  similar.     The  upright  oval  vignettes  upon  mine  differ, 


867. 


868.     [To  face  p.  484. 


MANDARIN.  485 

those  on  one  front  being  executed  in  black,  and  representing 
a  funereal  urn  and  weeping  willow,  and  on  the  other  an  English 
landscape  in  light  yellowish  sepia  resembling  the  small 
vignettes  upon  mandarins.  This  last  is  quite  beautifully 
rendered,  and  suggests  the  idea  that  it  may  have  been  taken 
from  one  of  Boreman's  paintings  upon  Chelsea-Derby.  The 
borders  used  upon  these  pieces  are  identical  with  the  borders 
upon  dessert  services  and  dinner  services  made  in  China,  to 
order,  early  in  the  nineteenth  century,  and  brought  into  Old 
and  New  England. 

"  A  common  border  was  one  of  a  thick  blue  enamel,  powdered 
with  tiny  gilt  stars.  In  this  vase  there  is  also  such  a  border 
of  thick  royal  blue  enamel,  with  gilt  grape  vine  with  leaves 
and  fruit.  This  vine  is  a  somewhat  distorted  edition  of  the 
grape  vine  with  leaves  and  fruit,  so  constantly  used  as  a 
decorative  border  in  England  early  in  that  century.  It 
appears  on  English  porcelains,  silver  plate,  and  on  almost 
anything  needing  a  border.  The  glass  globes  of  lamps  were 
even  so  decorated. 

"  My  borders  are  blue  in  rather  a  thick  enamel  colour,  and 
a  magnifying  glass  will  just  bring  out  the  gilt  patterns  in 
the  photograph  upon  the  blue  ground.  With  the  glass  you 
can  see  how  finely  the  upright  oval  sepia  panel  has  been 
painted. 

"  The  rather  coarse  and  waved  surface  of  these  jars  is  also 
quite  visible  in  the  photograph." 

It  is  easy  to  see  that  every  detail  of  these  vases  is  borrowed 
from  Europe — I  mean  those  of  this  especial  type. 

A  few  days  later  Mr.  Winthrop  wrote  : — "  I  am  waiting  for 
an  opportunity  to  inspect  two  pairs  of  similar  vases,  said  to  be 
in  this  city,  with  a  claret  ground  imitating  Chelsea.  I  have 
now  come  upon  seven  pairs  of  vases  of  this  pattern,  all  brought 
to  Boston  about  1815,  and  I  think  that  they  all  came  together." 

Again  later— 

"  The  old  New  England  families  commonly  maintain  their 
position,  and  I  find  here  a  good  many  remains  of  services  and 
ornaments,  but  they  are  rarely  the  specimens  of  the  connois- 
seur. They  are  the  porcelains  of  commerce  of  the  period. 
Here  these  are  known  as  *  Canton  china,'  there  having  been 
an  impression  that  it  was  manufactured  at  Canton.     Some  of 


486  KEA-KING. 

it,  no  doubt,  was  decorated  there,  and  it  is  not  easy  at  times  to 
distinguish  between  north  and  south.  The  surface  of  these 
pieces  is  apt  to  be  wavy,  and  the  colour  rather  grey,  much  like 
that  of  most  '  Bristol  paste,'  but  it  happens  that  the  paste  of 
the  three  pieces  illustrated  (Nos.  866,  867,  and  868)  is  quite 
ivory  in  tint,  owing  to  the  presence  of  iron." 

"Attached  to  the  first  page  of  this  letter  is  a  little  drawing 
of  a  vase  (one  of  a  pair)  28  inches  high,  resembling  my  classical 
vases  in  every  respect,  except  size.  It  is  the  finest  pair  of 
these  that  I  have  come  across.  The  model  is  ours,  but,  perhaps, 
is  slisfhtlv  more  slender  and  elance.  It  has  our  borders  everv- 
where,  and  even  the  medallion  in  bistre,  of  a  temple  in  a  land- 
scape of  trees,  is  repeated  with  the  greatest  nicety.  The  borders 
of  vine  leaves,  in  gold  upon  a  blue  ground,  are  most  carefully 
executed,  and  the  vases  I  consider  worthy  of  a  high  place. 
Unfortunately  they  have  been  divided  between  different 
branches  of  the  descendants  of  a  celebrated  millionaire  of  the 
early  part  of  last  century,  and  neither  party  will  ever  part 
with  its  vase.  In  mine  (No.  867)  the  vine-leaf  borders  have 
degenerated  into  quite  a  Chinese  vine  through  being  copied 
over  and  over  by  an  unintelligent  workman  who  did  not 
realize  what  he  was  doing." 

No.  868.  "In  the  photograph  beside  the  vase  is  a  small 
covered  custard  cup,  one  of  the  few  pieces  remaining  of  my 
grandfather's  service,  made  in  China  about  eighty-two  years 
ago.  The  pattern  is  borrowed  from  a  French  one,  and  all  the 
pieces  have  our  crest. 

"  This  service  was  decorated,  to  order,  in  China  early  in  the 
nineteenth  century  for  my  grandfather,  who  chanced  to  marry 
a  daughter  of  the  first  diplomatic  representative  of  Great 
Britain  in  this  country,  after  the  rebellion  known  as  the 
'Revolution.' 

"  It  has  my  grandfather's  crest  upon  it,  and  is,  doubtless,  a 
free  copy  of  some  French  pattern  of  the  time." 

Later  on — 

"  This  morning  I  went  by  appointment  to  the  house  of  a 
lady  representing  an  old  New  Bedford  family,  who  has  the 
most  magnificent  of  the  whole  series  of  classical  (Chinese) 
vases  like  my  photograph  that  I  have  seen.  Their  medallions 
contain,  instead  of  the  stippled  landscape  in  bistre,  a  spread 


GO 


03 

QO 


O 

qo 


GO 


MANDARIN.  487 

eaale  with  the  motto  of  the  United  States,  and  a  halo  of  stars. 
This  is  very  beautifully  painted,  the  stars  being  in  a  mist  of 
rays.  Like  ours,  these  vases  have  a  festoon  of  *  husks,'  in 
colour  and  gildiug,  the  blue-and-gold  handles,  etc.  Unlike 
ours,  the  porcelain  surface  is  not  wavy,  and  it  has  a  few  sprigs 
in  raised  blue  enamel  and  gildiug  scattered  over  the  white 
body  of  the  vase.  This  pair  is  abuut  17  inches  high,  and  the 
decoration  elsewhere  exactly  like  ours,  but  the  porcelain  of 
better  quality." 

No.  869.  "  In  the  same  house  are  the  remains  of  the  two 
finest  Chinese  dinner  services  that  I  am  acquainted  with,  both 
decorated  upon  the  glaze.  One  service  has  vignettes  of  land- 
scapes and  English  country  houses  in  stippled  bistre,  set  in 
circular  medallions,  with  the  initials  of  the  family  in  gilding 
set  in  a  panel  in  the  border.  The  dessert  dishes  include  some 
pierced  baskets,  such  as  I  have  lately  written  you  about,  and 
custard  cups,  with  the  twisted  handles  and  strawberry  knobs, 
all  the  models  being  of  the  usual  recognized  type. 

"The  other  service  is  more  elaborate,  having  a  very  broad 
border  of  diaper  in  gilding,  interrupted  by  small  oblong  panels 
containing  bright-coloured  Chinese  flowers,  these  last  beinii* 
the  only  part  of  the  decoration  that  has  a  Chinese  character. 
This  last  service  is  of  the  thin  grey-tinted  porcelain  so  fre- 
quently seen  coming  from  China — the  plates  very  flat,  with  a 
much  hollowed  '  marly.' 

"The  invoice  of  these  two  services  is  in  existence,  dated 
1815.  The  service  that  I  have  spoken  of  first  is  so  absolutely 
bound  to  the  other  by  the  vignettes  and  other  points  of 
resemblance  to  Nos.  8G6  and  867,  that  there  can  be  no  doubt 
of  their  being  of  the  same  date,  with  decoration  by  the  same 
hand. 

"  I  am  promised  a  defective  piece  of  one  or  both  of  these 
services  to  take  to  England. 

"  In  the  same  house  is  a  good  set  of  five  blue  and  white 
beakers  and  slender  covered  vases,  with '  kylins  '  on  the  covers, 
the  bodies  thrown  into  panels  by  the  common  butterfly 
Chinese  border,  in  blue  under  glaze  ;  but  in  the  centre  of 
the  large  panel  is  a  vase  and  flowers  affectiug  a  European 
character  in  thick  enamel  upon  the  glaze,  and  in  the  small 
panels  are  sprigs  in  the  same  blue  enamel.  These  last  resemble 
vol.  11.  p  2 


438  KEA-KING. 

the  euauiel  sprigs  upon  the  classical  vases  belonging  to  the 
same  lady,  tying  all  of  that  lot  of  porcelain  together.  The  body 
of  these  beakers  is  of  a  white  and  smooth  porcelain,  rather 
porous.  The  butterfly  borders  in  blue  under  glaze  are  those 
we  continually  see,  looking  as  if  put  on  by  some  kind  of  transfer. 
I  have  rarely  seen  such  fine  porcelain  in  these  sets  of  beakers." 

Later  Mr.  Winthrop  wrote  :  "  I  am  sailing  two  days  hence 
for  Liverpool,  and  shall  probably  dispatch  to  you  from  thence 
a  small  wooden  box  containing  a  broken  dish  of  one  of  the 
New  Bedford  dinner-services  that  I  have  referred  to.  You  will 
see  that  it  can  be  readily  put  together,  and  serve  as  an  illus- 
tration if  you  wish.  The  lady  could  not  find  a  piece  of  the 
more  elaborate  and  gilt  service  that  she  could  make  up  her 
mind  to  part  with. 

"  The  porcelain  of  the  two  services  is  similar,  and  you  will 
recognize  that  the  specimen  sent  you  is  of  a  thin,  crisp,  and 
resonant  body  that  you  are  perfectly  acquainted  with.  It  is 
very  easily  broken. 

"The  vignette  upon  the  specimen  sent  you  (No.  869)  is 
precisely  like  the  vignettes  upon  the  classical-shaped  vases 
photographed  for  you — colour,  method,  and  all — so  that  it  would 
be  very  probably  by  the  same  hand.  It  is  doubtless  borrowed 
from  some  engraving  from  a  volume  illustrating  English 
country  houses.  The  side  panels  of  our  '  yellow-grounded 
jars '  (No.  866),  also  photographed  for  you,  are  of  the  same 
character  and  origin. 

"  Upon  many  mandarins,  jars,  mugs,  etc.,  there  are  found 
small  vignettes  with  very  hastily  executed  scenes  in  a  similar 
colour.  These,  however,  are  in  washes,  and  not  stippled — 
just  suggesting  a  paysage.  Still,  they  seem  connected  with 
these  vignettes,  and  appear  to  either  have  suggested  them,  or 
to  have  been  suggested  by  them." 

No.  870  is  a  small  quatrefoil  mandarin  vase  (height,  5 
inches  ;  no  mark),  decorated  with  the  usual  bright  enamels, 
and  included  here  on  account  of  its  "  marble  "  stand,  somewhat 
similar  to  those  on  the  classic  vases  of  which  so  many  exist  in 
Boston.  This  imitating  of  marble  seems  to  have  formed  a 
feature  in  the  decoration  of  pieces  of  many  sorts  about  this 
time.  The  marbling  here  is  done  in  black  on  a  red-brown 
ground. 


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BLUE  AND   WHITE.  4S9 

No.871.  Semi-spherical  bowl.  Diameter,  15 J  inches;  height, 
(H  inches.  No  mark.  Gilt  edge.  This  is  one  of  those  pieces 
which  were  made  abont  this  time,  of  fine  quality,  and  sparingly 
decorated  in  the  classic  style  for  the  European  and  American 
markets.  The  paste  is  very  good,  and  whiter  in  colour  than  the 
New  Bedford  dinner-sets  described  by  Mr.  Winthrop.  Outside 
the  decoration  is  wholly  in  bistre,  but  of  much  darker  shade 
than  No.  869  ;  in  fact,  quite  a  chocolate-brown,  which  in  certain 
lights  shows  a  metallic  lustre.  This  is  relieved  by  narrow  gilt 
lines.  The  urns  are  most  delicately  painted  in  sepia,  the  scroll- 
work on  the  band  at  top  being  shaded  in  this  colour.  Inside, 
at  the  rim,  there  is  a  laurel-leaf  band,  with  red  berries  between 
two  gilt  circles,  edged  with  reel.  So  far  the  decoration  is 
entirely  in  the  European  style,  but  at  bottom  is  a  pink  rose 
on  a  green  stalk,  with  two  red  leaves,  which,  although  no  doubt 
intended  to  be  European,  are  as  Chinese  as  they  can  well  be. 

Nos.  872,  873  represent  a  shaving-bowl  and  water-bottle. 
The  basin  (diameter,  10  inches ;  height,  4  inches.  No  mark) 
is  decorated  with  mandarin  figures  in  the  usual  coloured 
enamels,  viz.  a  purple-pink,  blue,  yellow,  purple,  and  green ; 
the  dog  in  front  being  in  sepia.  The  border  is  in  shades  of 
iron-red  and  sepia.  The  bottle  (height,  9-i  inches)  is  decorated 
to  match  the  basin  ;  the  rock  is  in  a  brown-red  so  common 
about  this  time.  To  complete  the  set  there  should  be  a  mug 
similar  in  shape  to  No.  762.     These  belong  to  Mr.  H.  Willett. 

Blue  and  White 

was  made  largely  for  Europe  during  this  reign,  but  the 
quality  was  poor,  and  it  does  not  seem  in  any  way  to  call  for 
attention.  The  best  examples  are  those  made  for  use  in 
China. 

Nos.  874,  875.  Blue  and  white  dish.  Diameter,  10  inches. 
Mark,  Kea-king  seal.  The  decoration  is  in  white  upon 
blue,  while  the  motive  is  a  dragon  with  five  claws,  chasing  the 
sacred  jewel  among  nebulae  of  fire.  It  will  be  noticed  that  there 
are  two  dragons  on  the  sides,  and  two  on  the  back  of  the  dish  ; 
and  this  pattern,  on  similar  dishes  belonging  to  earlier  reigns, 
is  often  to  be  met  with,  the  blue  being  much  richer,  and  the 
drawing  and  painting  better.      The  pattern  was  no  doubt  a 


490  KEA-KING. 

stock  one  supplied  year  after  year  to  the  imperial  palace  on 
hundreds  of  pieces. 

In  Nos.  876,  877  we  have  specimens  of  what  is  known  as 
Canton  ware,  or  at  least  one  of  the  many  styles  in  which  it 
used  to  be  decorated  for  the  European  and  American  markets. 

No.  876.  Blue  and  white  plate.  Diameter,  16  J  inches  ; 
height,  1  h  inch.  No  mark.  Three  small  spur  marks ;  brown 
edge.  The  decoration  consists  of  a  winter  river  scene,  en- 
closed in  one  of  the  curl  and  spike  bands  usually  met  with  in 
this  class.  The  border  on  the  rim  begins  with  a  trellis-work 
band,  on  which  are  placed  four  pomegranate  and  four  joo-e  head- 
shaped  ornaments  in  curl-work,  with  eight  flower  sprays. 

"  A  night  view  of  a  stream,  founded  on  a  verse  in  the 
Chinese  poets." 

No.  877.  Blue  and  white  plate.  Diameter,  18  inches ; 
height,  1J  inch.  No  mark.  Six  very  small  spur  marks; 
brown  edge.  In  this  instance  the  border  is  more  compli- 
cated, and  seems  to  consist  of  four  scrolls  in  trellis  and  curl 
diaper,  with  butterfly  and  joo-e  head-shaped  ornament  between, 
with  perhaps  a  peach-shaped  figure  beyond,  the  design 
being  completed  with  flowers  and  symbols.  In  the  centre, 
enclosed  in  the  usual  curl  and  spike  ring,  under  a  pine-tree, 
stands  a  wood-gatherer,  with  arms  crossed,  apparently  awaiting 
the  arrival  of  a  boat  to  take  him  and  his  two  bundles  of  faggots 
across  the  river. 

"  Depicts  a  woodcutter  waiting  for  the  ferry,  such  as  may 
be  seen  anywhere  ;  his  hands  are  crossed  in  an  attitude  of  rest. 
The  Chinese  frequently  stand  so." 

Chinese  Imari. 

It  is  in  the  red  and  blue  under  the  glaze  class  that  we 
most  generally  meet  with  distinct  evidence  of  Japanese  in- 
fluence, and  as  we  know  the  Chinese  did  a  large  trade  with 
Japan  in  porcelain,  it  was  probably  to  suit  the  taste  of  their 
Japanese  customers  that  this  style  of  decoration  was  first  in- 
troduced ;  but,  later  on,  we  find  it  applied  to  services  made  for 
Europe.  In  the  piece  now  under  notice  we  have  a  very  good 
instance  of  this  particular  ware,  although  it  is  not  an  early 
specimen  thereof. 

No.  878.  Dish  of  bluish  porcelain.     Diameter,  8J  inches ; 


876. 


877. 


[To  face  p.  490. 


878. 


879. 


[To  face  p.  491. 


CELADON".  491 

height,  1J  inch.  No  mark.  Brown  edge.  At  back,  two 
small  blue  sprays,  each  with  three  red-peach  (?)  blossoms.  On 
the  face  the  decoration  is  marked  off  with  bine  rings ;  the 
border  at  the  ed^e  beinir  traced  in  red  and  filled  in  with  gilt. 
Of  the  chrysanthemums,  two  are  traced  in  red  and  filled  in 
with  gilt ;  the  other  three  being  in  red  with  gilt  centres. 
The  two  other  large  flowers  are  in  red  and  gilt,  and  of  the 
shape  so  often  met  with  in  these  later  pieces,  and  looks  more 
like  a  fuchsia  than  anything  else.  They  have  one  blue  petal, 
which  gives  them  an  odd  look,  with  two  sprays  of  flowering 
bamboo  (?)  at  the  base  in  blue.  The  lotus  leaf,  below  the  chry- 
santhemums, is  also  in  blue ;  but  most  of  the  foliage  is  in  red, 
blue  entering  very  sparingly  into  the  composition,  which  makes 
it  all  the  more  striking. 

We  must  now  glance  at  one  of  this  class  in  the  shape  of  a 
European  dessert  plate,  although  the  Japanese  influence  is  not 
so  strongly  shown  in  it  as  is  often  the  case.  It  is  made  of 
porcelain  similar  in  every  way  to  the  dish. 

No.  879.  Plate.  Diameter,  9  inches ;  height,  1  inch.  No 
mark.  Brown  edge.  The  decoration,  as  usual  in  these  plates, 
is  marked  off  by  blue  circles,  and  consists  of  conventionalized 
flowers  in  red,  blue,  and  gilt.  The  side  is  covered  with  a  red 
trellis  work  band,  the  reserves  being  marked  off  with  blue 
lines.  In  the  centre,  the  trunk  of  the  tree  and  four  of  the 
leaves  are  in  blue,  with  a  big  red  and  gilt  paaony  stuck  in  the 
middle,  while  to  the  reader's  left  are  two  blue,  and  three  so- 
called  tobacco  leaves  (see  No.  386).  The  blue  is  dark  in 
colour,  veined  with  gilt,  and  makes  a  striking  contrast  with 
the  rest. 

Celadon. 

No.  84:0.  Kegarding  this  sketch  Mr.  Winthrop  writes :  "  I 
recall,  at  the  house  of  a  friend,  a  splendid  lilac  jar,  very  similar 
to  one  in  the  Walters  collection,  a  lilac  crackle  of  probably 
the  sixteenth  century.  You  will  remember  the  reproductions 
of  some  such  crackle  in  the  early  part  of  the  nineteenth 
century,  a  pair  that  I  see  frequently  here  (Boston),  of  an 
ivory  white  with  large  crackles,  and  the  square  mark  of  Chia 
Ch'ing  in  blue  under  the  glaze  beneath  the  foot.  This  would 
place  them  between  179G  and  1820.     I  own  a  pair  exactly 


49^  KEA-KING. 

similar,  where  the  body  is  of  a  grey  white,  imitating  jade. 
The  porcelain  is  very  pure  and  fine,  and  the  only  decoration 
consists  of  the  raised  baton  in  groups  that  typify  the  first 
written  characters  of  the  Chinese  language.  Those  here, 
modern  as  they  are,  were  brought  from  China  forty  years  ago, 
as  a  part  of  a  fine  collection  of,  for  the  most  part,  ancient 
porcelains  that  realized  at  the  death  of  the  owner  £12,000." 

Reproductions. 

Nos.  880,  881,  882.  We  left  the  last  club  vase  some  hun- 
dred years  back  at  No.  609,  but  they  seem  to  have  come  into 
fashion  again  to  some  extent  about  this  time,  generally  as 
copies  of  the  Kang-he  pieces.  However,  beyond  the  shape,  and 
that  it  somewhat  resembles  the  old  pieces  decorated  chiefly  in 
red,  No.  880  is  perfectly  unique  in  every  way,  and  were  it 
not  for  the  paste,  and  the  blues  and  greens  employed,  it  would 
be  difficult  to  form  any  opinion  regarding  what  reign  it 
belonged  to,  as  the  painting  and  everything  about  it  is  worthy 
of  one  of  the  earlier  periods.  The  key  pattern  on  the  flange 
is  in  red,  the  bands  on  each  side  of  the  collar  in  green  with 
other  colours,  red  comb  pattern  at  top,  and  design  below.  The 
drawing  of  the  figures  is  in  red  and  sepia,  the  face  and  hair  of 
the  large  figure  being  chiefly  in  the  former,  with  red  robe 
covered  with  gilt  designs,  blue  head-dress,  and  green  trousers. 
The  smaller  figures  are  in  the  same  colours,  but  rather  more 
subdued  in  tone.  The  large  figure  probably  represents  "  Chung 
Kw'ei,"30  an  imaginary  being,  believed  to  wield  powers  of 
exorcism  over  malignant  demons,  and  frequently  depicted  as 
an  aged  man  clad  in  ragged  apparel,  and  holding  a  fan  to  his 
face  to  conceal  his  ugliness.  An  ancient  emperor  once  saw 
him  going  into  a  house,  and  asked  him  l  What  are  you  going 
there  for  ?  '  He  answered,  '  To  catch  evil  spirits.'  During 
the  fifth  moon  his  picture  is  sold  and  hung  as  a  charm."  "  The 
Dragon,  Image  and  Demon,"  p.  446.  One  condemned  demon  is 
under  the  right  foot  of  the  large  figure,  while  another  with 
fear  and  trembling  presents  a  rice  measure,  which  will  probably 
be  found  of  short  measure.  In  No.  881,  two  wretched  creatures 
await  sentence  with  a  wine  vessel,  the  contents  of  which  are  no 

30  The  "  Shoki"  of  Japanese  mythology.— T.J.L. 


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ENAMELLED   WARE.  493 

doubt  adulterated,  while  in  No.  882,  under  a  torn  umbrella, 
perhaps  representing  bad  workmanship,  a  third  awaits  with  an 
offering  of  a  basket  containing  a  bat  and  peach.  The  former, 
Mayers  tells  us  at  p.  29,  is  generally  represented  as  in  attend- 
ance on  Chuno-  Kw'ei. 


TAOU-KWANG,  1821-1851. 

A  well-inclined  monarch,  but  who  lacked  the  strength  of 
character  necessary  to  contend  with  the  many  difficulties  that 
surrounded  him.  Given  to  pleasure  and  amusement,  he  liked, 
we  are  told,  to  surround  himself  with  what  was  of  beauty,  and 
seems  to  have  endeavoured  to  raise  the  standard  of  quality  at 
King-te-chin.  Many  of  the  rice  bowls  made  at  this  time  are 
very  beautiful,  and  much  sought  after  by  collectors  (see  Nos. 
398,  399,  and  404,  405). 

Enamelled  ware. 

No.  883.  These  beakers  seem  to  belong  to  about  this  period, 
and,  as  in  this  case,  most  of  them  are  marked  in  red  Taou-Kwang 
in  the  seal  character  arranged  in  a  line  on  a  band.  They 
are  to  be  met  with  variously  decorated  in  numerous  colours, 
and  in  most  cases  the  surface  is  entirely  covered  with  enamel. 
In  workmanship  and  decoration  they  are  the  same  as  the  tripod 
incense  burners,  of  which  a  specimen  is  given  under  No.  397. 
In  height  9 h  inches,  this  piece,  like  other  such,  may  be  said  to 
be  divided  in  two,  viz.,  the  top  part,  or  flower  vase,  and  the 
bottom  part,  or  bell-shaped  stand,  so  that  if  turned  upside 
down  you  have  a  cup  on  a  protruding  stalk.  The  inside  of 
the  vase  and  cup  are  covered  with  a  rich  blue-green  enamel, 
while  outside  the  green  is  of  a  pea  shade,  ornamented  with  a 
lotus  scroll  work  and  the  eight  Buddhist  symbols  in  gilt.  Mr. 
Simons  has  a  similar  piece  to  this,  but  there  on  the  outside 
the  decoration  takes  the  form  of  red  dragons  on  the  white 
porcelain. 

The  using  of  two  shades  of  green  seems  to  have  been  a 
feature  about  this  date,  and  the  effect  is  very  charming,  as,  for 


494  TAOU-KWANG. 

instance,  when  this  vase  is  placed  so  that  you  can  see  the 
inside  and  outside  at  the  same  time. 


Yung-ching  Vertt. 

Of  older  wares  imitated  during  this  reign,  Nos.  884,  885 
are  interesting,  as  examples  of  late  Yung-ching  verte.  These 
bowls — diameter,  6^  inches ;  height,  3  inches,  mark  Taou-kwang 
in  the  seal  character — are  excellent  copies  of  the  ware  we  con- 
sidered in  Nos.  669-672.  Decorated  with  the  old  motive  of 
lotus  and  ducks,  the  design  is  traced  in  blue  under  the  glaze, 
which  shows  through  the  green  of  the  foliage,  as  also  the  green, 
yellow,  and  aubergine  plumage  of  the  ducks ;  the  red  of  the 
ilowers  is  a  very  good  reproduction  of  like  shade  in  Yung-ching 
times.  The  band  of  five  claw  dragons  at  the  rim  outside  is  in 
blue  under  the  glaze,  as  also  the  band  inside.  The  characters 
forming  this  latter  would  seem  to  indicate  that,  like  Nos.  338, 
339,  these  bowls  originally  formed  part  of  a  set  intended  as  a 
present  from  the  emperor  to  some  of  China's  tributary  princes. 

Canton  Ware. 

In  Nos.  886,  887  we  have  illustrations  of  a  special  class  of 
Canton  ware,  a  thick  heavy  porcelain  (often  of  fine  quality,  as 
seen  in  the  undecorated  portions  of  No.  886)  covered  with 
coloured  enamels. 

No.  886.  Dish.  Diameter,  9  J  inches  ;  height,  2  inches. 
No  mark.     Gilt  edge. 

No.  887.  Bowl.  Diameter,  7-1-  inches;  height,  3  inches. 
Mark,  Taou-kwang  seal  in  red  on  white  ground,  which  has 
been  left  when  putting  on  the  enamel ;  gilt  edge.  The  bowl 
is  inferior  in  every  way  to  the  dish,  and  seems  to  be  made,  as 
seen  at  the  stand  of  some  coarser  material.  Both  are  covered 
with  two  shades  of  green  enamel,  the  decoration  being  on  the 
lighter  of  the  two  shades  ;  the  back  of  the  dish,  the  inside  and 
base  of  the  bowl  being  covered  with  a  more  bluish  green.  The 
bowl,  it  will  be  noticed,  is  ornamented  with  four  mangs — a 
blue,  a  pink,  a  brick-coloured,  and  a  light  blue  one  ;  these  fit 
into  a  floral  arabesque  in  shaded  hues  of  the  above  colours. 
The  colouring  of  the  bowl  is  inferior  to  that  of  the  dish,  but 


886. 


887 


[To  face  p.  494. 


888 


889. 


[To  face  p.  495. 


ROSE  495 

this  may  be  in  some  measure  due  to  the  inferior  composition 
of  the  bowl. 

No.  886  would  appear  to  be  a  favourable  specimen  of  this 
class,  but  the  gilt  has  lost  its  brilliancy,  and  the  marking 
of  the  reserves  and  the  ring  enclosing  the  central  decoration 
looks  like  dirty  silver  between  two  red  lines.  The  effect  of 
the  pure  white  porcelain  showing  through  the  green  enamel  is 
very  pleasing,  and  the  flowers  symbolical  of  the  four  seasons 
which  decorate  the  reserves  are  carefully  painted.  In  the 
centre  we  have  "  the  gods  of  Happiness,  Emoluments,  Lon- 
gevity and  Joy.  This  picture  is  usually  found  in  the  central 
hall  of  Chinese  houses.  The  central  figure  is  the  god  of 
Happiness ;  the  one  on  the  right  of  the  picture  seated  on  a 
deer  is  the  god  of  Emolument,  he  is  represented  riding  a  deer, 
because  the  character  for  deer  and  that  for  emolument  are 
somewhat  alike.  The  god  of  Longevity  is  in  the  foreground, 
and  holds  a  censer  made  in  the  form  of  the  character  '  shou,' 
'  longevity.'  The  figure  on  the  left  hand  holding  a  joo-e 
symbol  of  luck,  is  the  god  of  Joy.  A  servant  holds  a  fan  over 
the  group  at  the  back." 

The  trunk  of  the  tree  and  the  deer  are  very  much  alike  in 
a  yellow  enamel  with  brown  stippling.  The  large  figure  is 
dressed  in  a  shaded  brick-red  robe,  with  light  blue  and  green 
skirt.  The  others  are  in  the  usual  mandarin  colours.  We 
probably  shall  not  be  very  far  out  in  taking  the  date  on  the 
bowl  as  giving  the  key  to  the  age  of  the  dish. 

Rose. 

No.  888.  Dish.  Diameter,  9J  inches;  height,  2  inches. 
Mark,  Taou-kwang,  in  a  red  seal.  This  is  one  of  those 
simple  but  well-finished  pieces  that  we  meet  with  belonging 
to  this  period.  At  back  there  are  five  red  bats.  In  front,  a 
spray  of  green  bamboo  on  one  side,  and  of  some  pink  blossom 
on  the  other,  meet  at  the  top,  entwine,  and  so  form  a  garland 
that  it  would  be  difficult  to  improve  upon. 

Xos.  888,  889  belong  to  Mr.  Simons. 


VOL.  II.  Q 


496  TAOU-KWANG. 

Canton  Ware. 

No.  889  illustrates  a  Canton  plate.  Diameter,  23  inches ; 
height,  3^  inches.  No  mark.  Made  of  a  coarse  grey  porce- 
lain, it  is  decorated  with  a  hunting  scene  in  gaudy  colours 
that  lack  the  brilliancy  of  the  early  enamels,  and  is  evidently 
one  of  those  large  pieces  that  were  made  during  the  first  half 
of  the  nineteenth  century  for  shipment  to  Europe,  when  the 
idea  was  to  get  as  much  as  possible  for  as  little  money  as 
possible.  The  scheme  of  the  decoration  is  not  at  all  bad,  and 
was  probably  copied  from  some  old  drawing  that  had  done 
duty  in  this  way  hundreds  of  times.  This  so-called  Canton 
ware  is  very  often  crackled,  probably  to  make  it  look  old. 
The  colouring,  however,  never  seems  to  vary  much — crude 
greens  and  rose  tints  playing  the  principal  part,  with  blues, 
browns,  and  yellows  of  like  quality. 

Blue  and  White. 

Nos.  890,  891.  Blue  and  white  bowl.  Diameter,  6  inches ; 
height,  2J  inches.  Mark,  Taou-kwang  seal.  The  porcelain 
here  is  good,  the  painting  clearly  and  carefully  done,  while  if 
the  blue  is  not  equal  to  that  of  Kang-he,  still  this  is  a  piece 
that  would  not  discredit  any  reism.  The  decoration  is  divided 
into  two  groups  by  a  willow  tree  and  ornamental  fence  on  one 
side,  and  a  like  railing  and  flowering  shrub  on  the  other. 
Between  these,  on  one  side,  eight  urchins  with  but  scant 
clothing  are  amusing  themselves  at  a  water-tank,  while  on  the 
other — presumably  the  same  eight  dressed  out  in  gala-clay 
attire — are  mimicking  one  of  those  official  processions  in  which 
the  Chinese  delight  so  greatly.  Inside  there  is  no  decoration 
whatever. 

No.  892.  Blue  and  white  flat  dish.  Diameter,  16  inches ; 
height,  lj  inch.  Mark,  Taou-kwang  seal.  The  decoration 
consists  of  two  five-claw  dragons  among  nebulse  of  fire,  with 
the  usual  ball  or  jewel  in  the  middle.  At  back  the  four 
seasons  are  represented  by  the  bamboo,  pine,  chrysanthemum, 
and  primus,  which,  with  sundry  butterflies  and  outlined  clouds, 
pretty  well  cover  the  whole  surface.  The  porcelain  is  of  wavy 
surface,  and,  but  for  the  mark,  might  belong  to  any  of  these 
later  reigns.     As  time  went  on  the  dishes  seem  to  have  got 


tr-i 


o 

00 


892. 


893. 


[To  face  p.  496. 


TUNG-CHE.  497 

flatter  in  shape,  and  here  we  have  them  almost  like  shields, 
only  slightly  concave,  the  curve  being  nearly  the  same  from 
the  centre  to  the  edge. 

No.  893  is  another  of  these  flat  dishes,  bine  and  white. 
Diameter,  14^  inches ;  height,  1^  inch.  Mark,  Taou- 
kwang,  in  four  characters.  The  subject  here  is  a  peacock 
among  paeonies,  while  at  the  back  there  are  three  groups  of 
entwined  bamboo,  pine,  and  primus — the  three  friends  (see 
p.  103).  We  find  that,  as  in  this  case,  the  Chinese  almost 
invariably  draw  a  particular  flower  with  a  particular  bird.  We 
have  seen  how  common  the  cock  and  pasony  is ;  but  this  flower 
can  also  lay  claim  to  the  phoenix,  peacock  (as  here),  and  the 
pheasant.  The  lotus  has  the  mandarin  duck ;  the  willow, 
swallows.  Quails  and  partridges  are  generally  represented 
with  millet ;  while  the  stork  and  pine,  as  emblems  of  longevity, 
naturally  go  together. 


HEEN-FUNG,  1851-1862. 

During  this  reign  the  low- water  mark  in  the  ceramic  art  of 
China  may  be  said  to  have  been  reached  in  the  destruction  of 
King-te-chin  by  the  Tai-pings,  and  but  little,  if  any,  fine 
porcelain  was  made  during  this  period. 


TUNG-CHE,  1862-1875. 

The  Tai-ping  rebellion  ended,  a  more  peaceful  state  of 
affairs  set  in,  and,  with  the  settling  down  of  the  country,  the 
manufacture  of  porcelain  once  more  began  to  receive  attention. 
Mr.  Hippisley  mentions  decorations  in  sepia  as  exhibiting 
considerable  artistic  merit,  and  refers  to  a  ware  with  a  pale 
turquoise  ground,  ornamented  with  flowers  and  butterflies  in 
black  and  white,  as  finding  favour  with  foreigners  about  the 
end  of  this  reign.  The  period,  however,  is  too  modern  to 
receive  much  attention  at  the  hands  of  collectors,  and  it  is 
doubtful  if  the  quality  is  such  as  to  warrant  its  ever  coming 
into  favour. 


493  KWANG-SHIU. 


KWANG-SHIU,  1875  to  date. 

During  the  present  reign  the  Chinese  have  paid  much 
attention  to  the  improvement  of  their  porcelain,  perhaps  not  so 
much  from  the  love  of  art  as  with  the  object  of  making  large 
profits,  by  selling  it  to  foreigners  at  high  prices  as  antique,  and 
certainly  many  of  their  imitations  are  wonderfully  good  and 
well  calculated  to  deceive  the  unwary.  America  still  draws 
supplies  of  porcelain  for  every  day  use  from  China,  but  little 
is  now  received  in  Europe.  The  day,  however,  may  come,  if 
the  Chinese  go  the  right  way  to  work,  when  it  will  once  more 
become  the  fashion  to  use  Chinese  made  services,  although,  of 
course,  a  very  high  standard  of  excellence  will  be  required  to 
compete  with  the  finely  finished  wares  now  made  on  this 
side. 

Famille  Verte. 

Nos.  894,  895,  896.  Famille  verte  vase,  blue  enamel. 
Height,  18 J  inches.  No  mark.  This  piece  was  purchased  in  the 
East  some  twenty  odd  years  ago,  and  may,  perhaps,  be  taken 
as  an  example  of  what  could  be  produced  in  the  early  part  of 
the  present  reign.  The  porcelain,  general  technique,  and  glaze 
are  good.  The  enamels  very  transparent,  but  lacking  in  depth 
of  colour,  and  seemingly  apt  to  chip  off.  The  yellows  are  poor, 
and  the  reds  of  a  brick  colour,  while  the  greens  are  thin ;  the 
aubergine  is  fairly  good.  But  altogether,  at  a  glance,  you  can 
tell  it  is  a  modern  piece. 

"  The  Emperor  Ti  was  very  fond  of  a  stork,  which  he  kept 
to  the  neglect  of  the  duties  of  government.  He  appointed  an 
officer  to  feed  it,  giving  food  for  it  as  if  for  an  official.  His 
councillors  frequently  remonstrated  with  him  without  effect. 
The  pictures  show  the  stork  being  fed,  and  two  faithful 
ministers  endeavouring  to  destroy  the  bird  which  wasted  so 
much  of  their  master's  time." 

In  Nos.  895,  896  we  have  the  destruction  of  the  pampered 
stork  by  means  of  book  and  sword-magic  (see  "  du  Halde,"  vol.  i. 
p.  677).  In  No.  896  a  man  waves  a  sword,  which  produces  a 
cloud  of  smoke  over  the  stork,  in  which  it  will  probably 
disappear,  while  the  figure  behind  him  has  just  thrown  the  book 
which  has  fallen  in  front  of  the  bird.     The  emperor  and  his 


00 
OS 


£ 


to 

CS 
GO 


OS 
QO 


OS 
GO 


FAMILLE   VERTE.  499 

attendants,  who  have  been  feeding  the  stork  (in  Nos.  894,  895), 
stand  powerless  to  help  their  favourite. 

Having  arrived  at  the  end  of  our  journey,  the  writer  must 
now  take  farewell  of  the  reader,  with  many  apologies  for  the 
very  indifferent  guide  he  has  proved  over  the  ill-defined  track 
we  have  travelled.  Mistakes,  no  doubt,  have  been  made,  and 
many  times  we  may  have  wandered  from  the  right  path,  but  if 
we  have  by  chance  set  up  a  few  fresh  landmarks  that  will 
be  of  service  to  future  pilgrims,  our  journey  will  not  have 
been  taken  in  vain.  As  the  road  gets  more  travelled  on, 
the  path  will  get  better  marked,  so  that  by-and-by  those  who 
tread  it  will  be  able  to  accomplish  the  journey,  down  the  four 
hundred  years  we  have  come,  with  less  difficulty  and  more 
certainty  than  in  the  present  instance. 


VOL.  11. 


Q2 


INDEX. 


Abundances,  three,  392,  449 

Advertisement,  319 

Americas,  349,  362,  403,  498 

Amoy,  275 

Ancestral  worship,  482 

Apricot  tree,  417 

Arabesques,   380 ;    not    previous    to 

Ming,  280,  321 ;  white  enamel,  443 
Arbuthnot,  Mr.  E.  ( ").,  331,  332,  333, 

383 
Aubergine,  335,  350 
Audsley,  Mr.,  377 

B 

Bamboo-grove,    307,    353  ;    spotted, 

401 
Banded  hedge,  37"),  376,  470 
Base,  enamelled,  398,  456 

,  coloured,  402,  403,  427,  456 

Bats,  five,  380,  395,  412,  495;  with 

peach,  361 
Beche-de-mer,  359 
Beckford,  Mr.,  473 
Begonia,  459 
Bell,   Mr.    C.    F.,   xxxi. ;    Vandyke 

pattern,  299  ;  old  prints,  447,  467 
Bennett,  Mr.  Bichard,  xxxi. ;  famille 

verte,  302,  352,  366  ;  coral,  382 ; 

miniature  verte,  395,  397;  fine  rose, 

399  ;  Kang-he  birthday  plate,  369; 

thousand  flowers,  402  ;  enamelled, 

481 


Binns,  Mr.,  455 

Black,  green,  291,  325;  on  white, 
301,  329,  352;  mirror,  327;  on 
famille  verte,  325,  363 ;  Keen-luncr, 
326 

Blanc  de  chine  in  Boston,  454 

Blue  and  white,  279,  308  ;  how  to 
judge,  309 

Blue  in  broad  washes,  315 

Blue,  Mohammedan,  279,  281  ; 
under  the  glaze,  284,  296  ;  maza- 
rine, 363 ;  turquoise,  326,  .'528  ; 
over  the  glaze,  285,  294,  296; 
over  and  under  glaze,  448,  479 

Borderland  pieces,  272,  291 

Borders,  incised,  385,  425 

Bowls,  often  well  decorated,  37< » 

Boy  restored,  421  ;  double,  461  ; 
fishing,  461 

British  Museum,  349,  372,  375,  440, 
463,  466 

Brocades,  282,  377,  440 

Brothers,  two,  336 

Burman,  Mr.  A.,  302,  357 :  Ming 
blue  and  white,  281 ;  Ming  egg- 
shell, 286  ;  blue  and  white,  320  ; 
referred  to  by  Mr.  G.  K.  Davies, 
302  ;  Kang-he  eggshell,  367 

Bushell,  Dr.,  Imperial  orders,  282, 
283,  310,  312  ;  painting  on  glaze, 
283 ;  sepia,  466 ;  blue  over  the 
glaze,  285  ;  coll'ee  glaze,  295,  298  ; 
elephant,     456 ;     peach    blossom, 


502 


INDEX. 


360 ;  marks,  372 ;  King-te-chin 
closed,  285 ;  hundred  deer,  etc., 
425 ;  vases,  368 ;  four  seasons, 
342;  Ming  catalogue,  286,  368, 
435 

Butterfly,  344,  401 

Byrne,  Mr.  Lovell  W.,  307 

Lucius  W.,  466 

Bythesea,Mrs.Samuel,three-coloured, 
303  ;  famille  verte,  304,  355  ;  egg- 
shell, 436 ;  bowls,  468  ;  blue  and 
white,  480 


C 

Cafe-au-lait,  353,  462 

Cambridge,  Col.  J.  P.,  ne  Trenchard, 
278 

Canal,  grand,  437 

Candlesticks,  416 

Canton,  274,  449,  473,  485,  406; 
blue  and  white,  made  at  Shaon- 
king  Foo,  276 

Carp,  359,  370,  459 

Caspidore,  319 

Cassia  tree,  440 

Celadon,  name,  278 

Chaffers,  Mr.,  470 

Chelsea,  485 

Citrons,  296 

Clouds  propitious,  425 

Club  shape,  320,  333,  356,  492 

Coffee  glaze,  295,  324,  462 

Collecting,  with  method,  358 ;  at 
small  cost,  477 

Colours,  not  vitreous,  281  ;  subdued, 
380,  387;  bossed  up,  306,  326, 
363  ;  transmutation  of,  361 

Comb  band,  314,  354,  492 

Compass,  Chinese,  316,  389 

Comte,  Pere  le,  307  ;  three  descrip- 
tions, 307 ;  how  to  judge,  308  ; 
European  merchants,  309  ;  work- 
men badly  paid,  310 ;  composition, 
311 

Connoisseurs,  308,  319,  485 

Crab,  324,  363,  365 


Crackle  covered  with  glaze,  308 
Cylindrical,  fancy,  417 


D 

Danseuse,  318,  477 

Davies,  Mr.  Geo.  R.,  xxx.,  402  ;  Ming 
borderland,  289  ;  famille  verte,  blue 
over  glaze,  294  ;  famille  verte,  301, 
329,  364,  365,  370;  black,  329, 
370,  380 ;  celadon,  356,  364 ;  rose, 
383  ;  raised  figures,  362 ;  mazarine 
blue,  362 ;  peach  bloom,  382 ; 
blue  and  white,  385;  miniature 
verte,  395;  fine  rose,  399 

Decoration,  brocaded,  282,  377 

Deer,  413,  495  ;  stalking,  421 

Dragon  and  carp,  459,  480 ;  gate, 
345;  five-claw,  280,  428,  444; 
four-claw,  345,  454;  Mang,  296, 
346,  351,  380,  437  ;  and  phoenix, 
372,  414 ;  and  lotus-scroll,  281  ; 
and  foliage,  284 ;  five,  387,  389 

Drawing,  freehand,  390,  425  ; 
archaic,  298 

Dresden  marks,  353,  384 

Dutch,  349,  376,  464 

E 

Edkins,  Dr.,  xxxi. ;  Chinese  drawings, 

294,  426 
Eggshell,    Ming,    286;    Semi,    400, 

433,  444 
Elephant  handles,  324,  456 
Emperor  Lin  Ch'e,  406;  Ti,  498  ;  Woo 

Ti,  406  ;  Ming  Hwang,  320,  410, 

418;  WuTi,314 
Enamel,  white,  446,  465 
Entrecolles,  Pere  d',  274  ;  porcelain 

only  made  at  King-te-chin,  274 ; 

coffee   glaze,   295 ;    Jesuit  china, 

323 ;  black,  328 ;  soft  paste,  340, 

445 ;  transmutation,  361 
European  influence,  367,  421,  462 
Evil  spirits,  492 
Eyebrows  painted,  338 


INDEX. 


503 


F 

Fairies,  294,  413,418,421 

Famillc    verte    without    red,    303 ; 

not  mentioned  by  Le  Comte,  312 
Farewell  of  Wang  Wei,  333 
Faull,  Mr.  C.  E.,  xxxii.,  320 
Figures  raised,  362,  364 
Filial  devotion,  306 
Fisherman  of  Peach  creek,  314  ;  and 

daughter,  393 
Fitzhugh  pattern,  449 
Five-coloured  pieces,  284,  292,  312 
Flowers,  mille,  438;  spirits  of,  403; 

with  birds,  497 
Foo,  287 
Franks,  Sir  A.  W.,  xxx.,  276,   295, 

349,  375,  376,  382,  402,  466 
Friend's  adieu,  333 ;  three,  342,  344, 

497 
Frog,  324 ;  in  moon,  368 
Fuchsias,  442,  472,491 
Fungus,  442 

G 

General,   the  lost,   305,  306  ;  brave, 

317 
Glaze,  308,  313,  320 
Gods,  "  many,"  300,  319,  495 
Gordon,  "  Chinese,"  427 
Grandidier  collection,  369,  370,  463 
Grass,  334 
Green,  two  shades,  493,  494 

H 

Halde,  Du,  citrons,    296 ;    illustrious 

women,    315;    deer,    421;    grand 

canal,  438  ;  magic,  498 
Hatching,  368,  372,  440,  446,  479 
Hawthorn  band,  314 
Heard,  Mr.  Augustine,  450 
Hertford  House,  349 
Hippisley,   Mr.   A.    E.,   best  period, 

273 ;  arabesques,  280,  321,   381  ; 

famille  verte,  293  ;  Nien  hao,  298 ; 

black,  329 


Hippisley,  one  hundred  magpies,  343  ; 
peach  bloom,  360  ;  arabesque,  280 ; 
Tung-che  china,  497  ;  genre  paint- 
ing, 280,  321 ;  early  famillc  verte, 
293 

Hirth,  Dr.  F.,  china  sent  from  King- 
te-chin  to  Canton,  275 

Hizen,  447 

I 

Imari,  464 

Immortals,  eight,  302,  353,  383,  395, 

447,  457,  458,  468 
Influence,  foreign,  321,  362,  364,  490 
Irrigating,  367 


Jade  cups,  like,  279,  391 
Japan,  old,  374,  376 
Jar  symbol,  287 
Jesuit  china,  323 
Jesuits,  272,  288,  307,  317,  394 
Jones,   McDuffee,    &    Stratton    Co., 
451,453 


Kakiyemon,  322,  334,  374,  476 
King-te-chin,   274,    288,    348,   481, 
493,   497;  closed,  272.  285;  Im- 
perial orders,  282,  283;  officials  of, 
289,  358,  379,  394 


Ladies  punish  priest,  335,  407,  457  ; 
two  in  love  with  same  suitor,  305  ; 
two  in  garden,  318,  354 

Lady,  same  presented  to  father  and 
son,  305  ;  China  invaded  on  account 
of  a,  420;  kidnapped,  419;  and 
child,  437  ;  with  kitten,  356 

Lament  of  Pai-ya,  353,  396 

Lane,  Mrs.  Fred,  278 

Lange  Lijsen,  297 


504 


INDEX. 


Lark,  466 

Lee,  Miss  E.  M.,  xxxi 

Leisure  hours,  397 

Litchi,  401,  412 

Longevity,  324,  369,  383,  429,  495 

Lotus  and  ducks,  402,  443,  457,  458, 

494 ;  boat,  406 
Lustre,  309,  489 


M 

Magic  book  and  sword,  498 

Magpie,  343,  354 

Marble,  482,  488 

Marks,  Dresden,  353,  384;  Ming,  388  ; 

trade    section,     346;    Ching-hwa. 

315,    346,    347,   387,    389,   409; 

artists',   350,  363,   365,  366,  397^ 

398,  405;  in  gilt,  481  ;  Hall,  295, 

402 
.Marriage  customs,  414 
Marryat,  Mr.  Joseph,  451 
Merchants,  European,  274,  310.  313 
.Metallic  lustre,  489 
Ming  porcelain,  272 
Monkhouse,    Mr.    Cosmo,    blue    and 

white,     281;     Chinese    drawings, 

294;  Blacks,  326  ;  old  Japan,  374 
Moon  and  stars,  470 
Moulds,  use  of,  311,  313 
Mountains,  cool,  397 
Mulberry,  429,  439 


N 

New  England,  474,  484 

Nien-hao,  or  date  marks,  271,  276. 
279,  280,  297,  359,  372,  386,  391, 
428 ;  prohibited,  294,  297,  298 

Nightingale.  Mr.,  375 


O 

Official,  upright,  306 
Orange,  peau  d'.  395 


<  )rchid,  390,  442 

Orders,    European,    274,    348,    39  1 

Imperial,  282,  283,  310.  312 
Orphan  of  Chaou,  317 


Pseony,  318  ;  and  phoenix,  366,  480 
Painting  of  porcelain,  309  ;  over  the 
glaze  introduced,  283,  284,    368; 
ribbed,  384,  401  ;  on  biscuit,  280  ; 
Ching-hwa,  368 
Patterns,  wave,  291.  393,  458  ;  Van- 
dyke,   299;    diaper,    351;    comb, 
354;    Fitzhugh,    449;    barn-door, 
460 :  willow,  449 
Pavilion  of  the  West,  470 
Peach,    384;    emblem    of  marriage, 
482;    bottles,    383;     and     pome- 
granates, 296.  447 
Peach  bloom,  358,  360,  382,  386 
Period,  rose,    273;    the    best,    278; 
Yung-ching,    general    term,    393, 
401,  406 
Persian,  281,  328 
Pheasant,  287,  366 
Pictures,  Chinese  copy,  427 
Pine,  429  ;  and  bamboo,  291 ;  primus, 

458 
Plum  stones,  338 
Pomegranate,     360,     365;     flowers, 

392,  409,  438,  459,  460,  469 
Porcelain,  best,  273 ;  quality  of,  308  ; 
old  preferred,  310;  trade  in,  348; 
Ming,    272;    bodiless,    286,    313, 
314;  manufacture  of,  311  ;  rough, 
442  ;  grey,  442,  460 
Portuguese,  348,  462 
Priest  punished,  335.  407,  457 
Priestess  sacrificed,  331 
Prunus  and  pasonv,  448  ;  and  peach. 

482 
Puzzle  vase,  289 


Q 


Quail,  400,  457,  49' 


INDEX. 


505 


R 

Red,  309;  iron,  414;    copper,  361  ; 

gold,  361;   cord,  414 
Redecorations,  279,  3ol 
Reproductions,  376,  418,  429 
River  god,  wife  given  to,  331 ;  scene, 

190 
Hope  dancers,  478 
Rajmal  Abbe,  270 


S 

Salting  collection,  349  ;  figures,  300  ; 
Japanese  influence,  321;  black, 
325,  330 ;  celadons,  428  ;  dessert 
plates,  463  ;  Eggshell.  286 

Sang  de  bceuf,  358,  404 

Scholars  in  snow,  357 

Seasons,  four,  334.  339,  342.  355. 
373,  455,  45(5,  457,496 

Sepia,  398,  466 

Sevres,  349 

Sewell,  Dr.,  27s 

Siamese,  328 

Silver  mountings.  272.  277.  278 

Simons,  Mr.  II.  Melvill,  blue  and 
white,  297,  384.  480;  powdered 
blue,  356;  rose,  384,  495;  blue 
enamel,  444;  enamelled,  493: 
( Janton,  496 

Sisters,  two,  318,  354;  twin,  430 

Si  WangMu,  316,383,  447 

Soft  paste,  3!)  1.  405 

Spelling  of  Chinese  names,  xxx 

Spies,  taken  for.  305 

Stands,  wood,  352 :  fluted,  359 

Star  borders,  485 

Starling,  432 

Stars,  287 

Statesman  escapes  with  bride,  339 

Steeds,  eight.  3,72,  392 

Stippling,  405,  444,  446.    449,    475, 
483,  486,  487,  495 

Stork,  pampered,  498 

Sturgeon.  359,  370,  384 

Supper  plates,  4H(j 


Swastikas,  351 

Symbols,  12;  on  robes  of  state,  2,^7  ; 

chastity,  477  ;    mixed,  3,39  ;  eight 

Buddhist,  493, 


Tan,  JiahKim,  Mr.,  319 

Taoist,  434  ;  worshippers,  350 

Three-coloured  pieces,  390 

Thrush,  466 

Tiger,  375,  376 

Toad,  three-legged,  324 

Trade  section,  347,  393 

Transfer  printing,  448 

Trapnell,  Mr.  A.,  figures,   etc.,  301  : 

rose,  400 
Tree-traps,  376 
Trenchard  bowls.  271,  277 
Twin  sisters,  430 


Vandyke  pattern,  29!' 

Vase,  287  ;  club  shape,  319,  331 .  33,;} ; 
pomegranate  shape.  3,57  ;  different 
shapes,  368;  round.  376;  tall, 
slender,  3,85;  fancy  cylindrical, 
417;  for  flowers,  368;  full  moon, 
386 

Verdigris,  3(50,  382 

Vine.  435,  483,  486 

W 

Warham  bowl,  278 

Wattean,  Antoine,  467 

Wedding  customs,  414  :  goblets,  415  ; 

candles,  41 6 
Western  lake,  448 
Wife,    the  forsaken.    4x7:    rescued, 

41!» 
Willett,    Mr.    Henry,   early    famille 

verte,  284;  coral,  355;  rose  verte, 

419;     eggshell.    440;    enamelled, 

482;  mandarin,  441.  489 
Willow,  337,  312.  354 
Winter  scenes,  343,  351.  398 


506 


INDEX. 


Winthrop,  Mr.  Thos.  Lindall,  xxx ; 
Trenchard  bowls,  277 ;  Noire, 
325  ;  famille  verte,  333,  363,  389  ; 
soft  paste,  340,  391,  447;  blanc  de 
chine,  453;  celadons,  358,  391, 
427,  491;  transfer,  449,  452; 
mandarin,  449,  473,  483 ;  peach- 
bloom,  3(32;  Japanese  influence, 
364  ;  European,  484  ;  Kakiyemon, 
374;  marks,  391;  enamels,  427; 
Fitzhugh,  449  ;  illustrations,  476 

Women,  illustrious,  315,  434,  437, 
477 

Woodcutter.  490 


Wood  linings,  293 


o"? 


Worcester,  451,  452,  455 


Y 


Yang,  Princess,  320,  411,  418 
Yellow,  277,  279,  313,   365;    ware 

used  by  emperor,  307 
Yung-ching,  general  term,  384.  401 , 

406 


Z 


Zavier,  Saint  Francois,  322 


THE    END. 


I'RINTED    BY   WILLIAM    CLOWES    AND    SONS,   LIMITED,    LONDON    AND    P.ECCLKS. 


Date 

Due 

NOV  1  8  1S)81 



, 

Library  Bureau  Cat.  no.   1137 


WELLESLEY  COLLEGE  LIBRARY 


3  5002  03030  2090 


Art    NK    4565    . G8    1902    2 


Gulland,     W.     G. 


Chinese  porcelain